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HEINRICH GÖBEL 


TAPESTRIES 


OF THE 


LOWLANDS 


TRANSLATED BY ROBERT WEST 


MCMXXIV 


NEW YORK / BRENTANO'S, INC. 


In this place I may be allowed to address a most earnest request to all possessors of tapestries, that 
they will let me have pbotographs of the tapestries in their possession, for the completion of 
the further volumes of this work and that they will, at the same time give me any 
information they may possess as to the signatures of the said tapestries. 


Printed in Germany 


Dedicated to the Memory of my Parents 





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Introductory Notice. 


This book (a short rendering of the German edition) contains the first part of a 
work in four volumes on the History of Tapestry (part II: the Romanesque countries; 
part III: the German and Sclavonic territories; part IV: the tapestries outside of 
Europe). I am dependant upon the kindness of the State Institutes, the Collectors 
and Merchants for the conclusion of the work not yet published and I should be 
exceedingly grateful for any photographs or indications of weavers marks 
which could be forwarded to me. 


Kolberg (Pommern). Dr. H. Gobel. 


ib HORS GES 
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Index 


The technique of Tapestry- eee 
The high warp loom 
The low warp loom 
Technical Details 


Completion of the Tapestry 
Repair of a hae paete® 
Colouring 


The Interpretation of the Tapestry-Hanging 
The early times till the end of the 15* century 
The 16 century : Er 
The 17* century 
The 48th century 


The County of Artois. 
Arras . ; 


The Tournai bishopric . 
Tournai . Sats 


The bishopric of Cambrai 
Cambrai . 


The duchy of Brabant 
Brussels . 
The 16% century 
The 47° and the 18% century 
The Pattern Painters seater Edition n page 104— —438) 
The Borders . : 
Antwerp 


Louvain — Mecheln — Thienen — Diest ase Trond - _ Bergen op Zoom 


The County of Flanders 
Oudenarde . 
Lille . 
Bruges . . 
Geerardsbergen (Grammont) . j 
Ghent : : 
Douai. . . 
Middelburg in Flanders . 
Alost (Aelst) — Ypern — Tourcoing 5 


The County Bib OP RAE ates : 
Valenciennes . 
Enghien. . ee. 
Mons — Biche — Ath — Lessines . 


Index 





County of Holland ect ZI. „Se er Eee 


VII 


Amsterdam —‘Schoonhovenx. ..\ = 1... 00 eee ee ee 89 
Rotterdam +... 2253 ue SYS See ee ee 90 
Delft 62 7.3 vn sr Snel BE RE 
Gotida 7. re, ak a RE a ee ce 93 
The Hague. 5 ie vac Beira) 20 aa ge Pei er Se 94 
Middelburg on Walcheren .. ..\.. „2 mn gs os re 95 
Haarlem e405 Se a Rene eh Gc lg ee eer 96 
Leiden — Dordrecht — Leeuwarden — Utrecht. . . . .... +. 56 a 97 








The technique of Tapestry-weaving. 


The high warp loom. 


The principle of construction has for the main part remained the same from the 
oldest times down to our own days. The warp is stretched across a square frame. 
All improvements and additions were merely the logical consequences of this and 
depended on the breadth of the tapestry that was to be woven. No clear and exact 
working drawings of the looms of the 15, 46!" and 17‘ centuries have been handed 
down to us. The engravings in Diderot’s Encyclopédie ou Dictionnaire raisonné des 
sciences, des arts et des métiers, form the chief source for our dissertation. The plates 
belong to the paragraph on the „Tapisserie de Hautelisse”. They were probably 
executed about 1770, during the later time of tapestry weaving. 

Plate 1. gives a view of the tapestry weaver’s workroom. The groundplan shows 
a long gallery; this is most hkely meant for the „Atelier du Nord” of the Manufactury 
of the Gobelins, in which once upon a time Jan Jans was at work on eight looms. 
The entire depth of the room consists of 14 feet; standing behind his loom the weaver 
has only 2!/, feet working-space at his diposal. The width of span of the frame, that 
is to say the open space between the two uprights varies from 15 to 18 feet. 

The heavy iron columns on the sides marked by f in Diderot’s plan rise from a 
trestle riveted to the floor by iron bands. Below they carry the lower roller at the 
top the upper roller (d). The already completed piece of the tapestry hanging is 
clearly discernible; at the first loom the face of the weaver is seen peeping through 
the warp-threads. A large wooden board (c) protects the unrolled tapestry from 
damage and dust; in the same way a piece of linen covers the warp on the top 
roller. The smaller board (b) protects the eyes against the disturbing reflection from 
the floor. Heavy temples are fastened to the props by cordage. 

The last loom shows the management of the arrangements to secure the necessary tension 
of the warp. Three workmen (1) are pullimg the lever downwards with all their 
might. In the fourth loom the upper temple has been taken out. The weaver is 
rolling the finished piece of tapestry on to the lower roller by help of the lower 
lever. Before the third loom a weaver is kneeling, by the aid of a pair of pincers 
he removes inequalities projecting from the tapestry. An assistant carries the bobbin- 
box, containing new working materials, to his colleagues. 

In the fore-ground one of the workers takes the necessary bobbins out of the chest, 
a woman is busily employed in winding the threads upon the bobbins, a child 
brings worsted and silk threads. 

The next picture (2) shows the high warp loom in its different aspects. Fig. 1 gives 
the front view of the loom. We recognize the side posts, the beams mortised into 
them — the groove of the upper roller is turned towards the spectator; as a new element 
there appears the coat-stave. So as to make matters more clear it must be stated at 
once that by coats or lisses looped threads are to be understood of which each one 


4 4 


Technique 


encircles a thread of the warp, the 274, Ah, 6, sth, 10, 12 etc. binding these 
together into one system. The coats or lisses hang down in a slight arch from the 
coat-stave which again rests on a moveable iron (fig. 2e). The unequal progress of 
the work causes the introduction of the auxiliary coat-staves (fig. 5c), in the cross-cut 
(fig. 2) this is marked by the second rod hanging on to the upper coat-stave. The 
wall slopes outwards at the top (fig. 2), the judiciousness of this arrangement is easily 
explained by the protruding temples and coat-staves. The narrow working-space is 
still further restricted by the pattern picture hung up behind the weaver. The cleft 
in the floor into which the cartoon could be let down by ropes had not yet come 
into use. Fig. 3 shows a cut across the lower roller. The warp (b) is wound upon 
the roller, a thick iron peg presses the shaft into the groove and prevents it from 
springing out. Fig. 4 shows the exceedingly simple arrangements for keeping the 
threads taut. In the next picture (fig. 5) the loom is depicted as seen from the 
weaver’s side. The coat-stave (b) with attached auxiliary lisses (c) is easily recognized, 
The holes made into the posts enabled the weavers to put the chief beam into any 
position they chose. The looms width of span between the posts is about 15 feet, the 
height up to the top edge of the roller about 9 feet. 

The technique of keepmg the warp taut is amply illustrated by plate 3d. One 
detail (fig. 2) shows a cross-cut through the top-roller, the fastenmg of the warp 
threads is done in the same way as in the case of the lower roller. Fig. 3 shows the 
rolling up of the finished piece of tapestry. The construction is easily understood. 
The windlass is worked by stout ropes, the noose is slung round the moveable iron 
peg of the beam. 

The method of stretching the warp was always combined with difficulties. Besides 
the intense bodily exertion there was a decided risk to health and life. The noose 
might slip off the peg, the groove-rod might spring out or break, the rope might 
break, no doubt there were chances of mishaps. There frequently occurred more or 
less grave accidents to the spanners. The next improvement was to do the stretching 
by aid of a draw-beam which was fastened to the opposite wall of the workshop 
and by the aid of a pullimg rope pressed down the lever of the roller. When the 
operation had been satisfactorily concluded the stretching lever was bound round the 
supporting props. It seems doubtful if this method came into use before the second 
half of the 48% century. It was evidently not popular, perhaps for the reason that 
through careless handling the warp might easily be too tightly stretched. 

Plate 4" shows the new arrangements for stretching of the Gobelins. It is mainly 
an ingenious adaptation of the stretching apparatus of the low warp loom, improved 
by Vaucanson in 1757. By an intermediate piece let into the supporting props and 
by aid of the thread of a screw the space between both beams can be lessened or 
augmented according to need and the warp threads can be loosened or tightened. 
The lower roller is likewise mortised into the moveable rod which runs in the 
grooves of the severed supporting props. Essential to the operation is the regular 
handling of the winches, as there is always the possibility that the piece of tapestry 
already completed and ready for rolling may become wavy, or even that the threads 
of the warp may break. The particulars are not of much interest. 

The enormous length of the top-roller, which in the open space, that is between 
the upright pillars occasionally comes to as much as 22 feet and the tremendous strain 
of the warp-threads easily explain a peculiarity which is unpleasantly noticeable in 
many of the larger tapestry-hangings, the deviation from the square, the dints in the 
middle of the sides. 

Plate 5% shows the weaver at work. The following remarks may serve to a better 
understanding of the process:. The warp is wound upon the roller in such fashion 
that between the single threads there remains a clear space of about ?/; to 4/, of the 
thickness of the warp. Then follows the division into an even and an odd number 
of threads, then the placing of the lisses. Plate 6% shows how the thing is done. 


2 


CRC TH Nt gue 





After the introduction of the cross-stave (f) which is about one inch thick and 
consists of polished hard wood, comes the fastening of the lisses. First the coat-stave 
— 9/, inches (3 pouces) thick — is laid through a mould (fig. 2) in exactly equal distance 
— about one foot — from the warp threads. A special instrument, a kind of comb 
is used to prevent all possibility of the threads becoming entangled. Beneath this 
comb, which later on is replaced by a string, the division begins. By aid of running- 
knots one half of the warp threads are encircled, the coat-stave (a) takes up the „lisses”. 
Plate 5 shows the distribution upon the auxilliary coat-staves. 

The weaver sits in front of his work, he is evidently hehind-hand, in consequence 
of which the auxiliary coat-staves hang down somewhat lower for him than for his 
neighbours. The coat-staves being rigged by ropes to the wall prevents any undulatory 
movement or the getting entangled of the loosely hanging lisses. 

The crossing thread (g), the fastening thread (h) and the cross-stave (f) are clearly 
discernible. The colour bobbins hang and stick in the already finished piece of 
tapestry, the comb, whose teeth must be im accordance with the thickness of the 
warp, is likewise not missing. In a similar way as the coat-stave is divided in the 
larger looms, several smaller rods are put in, in place of the one cross-stave. 

The process of weaving — with the exception of a few particulars, which will be 
specially considered — is conducted on the high warp loom in the following manner: 
The tapestry weaver first places the tracing-paper, but only on to that part which 
he intends to work on. The copy on oiled paper or linen is pinned onto the warp 
threads by the help of two pointed sticks, the lines are carefully traced (plate 7) in 
black chalk — black Indian ink was avoided, even in later times, as it was liable te be 
seen through light silks. The result is a network of countless dots. In which way 
the shading and the transition outlines were marked is unknown, red chalks were 
probably used. Horizontal and perpendicular auxiliary axes may have facilitated the 
worker’s finding his way about. Besides this, the most important points in the cartoon 
— the hight of the figures for instance — shoulders, head, shield etc. — were marked 
on the design to be copied as well as on the warp. As the work advanced the 
points marked on the warp naturally had to coincide with the points marked in the 
design. There was another mode of proceeding, in which the general outlines of the 
pattern were drawn in white on black gauze, this model stretched on a frame was 
from time to time laid upon the warp for the sake of comparing the tapestry with 
it. Deviations from the model were easily ascertained by both methods. 

If the weaver in the course of tracing the pattern through was uncertain about 
some detail, he only needed to lift up the thread of the warp (plate 7") where-upon 
he could easily reassure himself as to the detail coming into question. When the 
tracing was done the choice of the colours began, which were kept ready to hand 
in special bobbin boxes. 

The instrument of the „Hautelissiers”, the bobbin, ,broche” (Plate 8%, fig. 5) is as a 
rule made of box-wood. The length of the instrument varies from 7 to 10 inches, 
according to the circumstances, if a long pass — say in case of the uniform tints of the 
sky — or a short pass is required, the thickness is about */, inch (8 lignes). The furnishing 
was done by spooling wheels. Wools and silks must for the rest be of the same 
thickness. If the woollen bobbin is furnished with one thread, the silk-bobbin gets 
two; some times two woollen threads — for backgrounds of uniform colouring, that 
can be quickly done — amount to five silk threads. Definite rules cannot be given, 
the thickness of the thread of the warp determines the combination of the woof. 

The long pointed end of the bobbin serves for the dividing of the warp threads 
and for the down-pressing of the pass. WVhen the bobbin is no longer used, it 
remains hanging on to its part of the tapestry, a running-knot prevents it from slipping. 

The woof — the French weaver calls it „assure”, the Fleming ,inslach” — is 
conducted from left to right. The tapestry worker introduces four fingers of the left 
hand below the front leaf whose threads are not encircled by a loop, the thumb 


3 


DCO) ce e 





seizes on to the top; the threads of the warp are drawn out in the number needed, 
the right hand entering between the divided warp threads with the three last fingers. 
Thumb and fore-finger are used to introduce the bobbin at the back, so that the 
thread is laid between the leaves (plate 9). Half the „inslach” has been accomplished. 
The thread is beaten down by the bobbin. The left hand, by help of the lisses or 
coats, pulls forward the leaf at the back, the threads 2, 4, 6, 8 — which ly behind 
the cross-staff; in case of a long pass the fingers must help the warp-threads along. 
The right hand introduces the thread between the leaves working from right to left; 
the thumb takes up the bobbin (plate 10). The pass has been completed. Here-upon 
there again follows a slight hammering down with the point. In the cross-cut of the 
warp the woof is accomplished in these four phases as is shown in plate 11. The 
technique is that of a regular ribbed web with the sole difference that the woof does 
not run through the entire warp threads, but is confined to one field of colour. The 
down-hammering by means of the bobbin and the treatment by the comb presses 
the pass firmly together. The warp threads visible in the ribbed web disappear, the 
woollen woof gets matted, a single line appears to be drawn right through, the warp 
is seen in the picture as a continuous elevation, as a rib, 

There is a much debated question as to the difference between the technique of 
hautelisse and basselisse. Hitherto it was always denied, that there was a visible 
distinction. Even the Dictionnaire universel de commerce of the year 1750 declares 
shortly that: „Toute la difference qui paroit aux yeux entre la haute lisse et la basse 
lisse consiste en ce qu’a la basse lisse il y a un filet rouge” (a red thread), „large 
d’environ une ligne (2mm), qui est mis de chaque cété du haut en bas, et qu’a la 
Hautelisse ce filet n’y est point”. Till now I have not once met with this red thread 
in any tapestry-hanging, probably it was occasionally used in the Paris State manu- 
factory. 

The supposed complete similarity of appearance of the hautelisse and basselisse 
work is contradicted by the fact, that in many cases, the experts employed by princes 
and gentlemen, who wanted to purchase tapestries had no difficulty formerly in 
recognizing from the technique of the sets required, which kind of work they belonged 
to. So that there must have been purely technical signs. 

Let us once more recapitulate the making of the woof. In front of the coat-stave 
lies the group of odd numbered warp threads 1, 3, 5, 7 and so on, behind the cross- 
stave the even numbered warp threads 2, 4, 6, 8 and so on. For the first leaf a 
slight pulling out is sufficient, for the second a strong pull is needed by help of the 
coats or lisses, which drag the warp threads as far as and beyond the uneven 
numbered warp threads so that the slit is produced; that is to say the threads of 
the back leaf encircled by the coats or lisses endure continually a far greater strain 
than the threads of the front leaf. The natural result is that the even numbered 
warp leaf gets slack far more quickly than the uneven numbered one. This pecu- 
liarity becomes the more strongly marked the longer the rolling up and restretching 
is postponed. The influence on the structure of the texture is seen by the fact that 
at the beginning of the work the ribs appear in the same thickness, or according to 
the current expression in the same „grain”. Gradually a slight inequality is seen, the 
slacker thread makes a somewhat thicker rib, the uneven leaf remams in the former 
tense, that is flatter shape. To the masters of the Gobelins this characteristic was 
doubtless not unknown; one knew how to remedy the fault, if such an expression is 
indeed justified, by restretching in good time, and thereby was produced the level 
surface of the basselisse tapestry in which both warp leafs are set in movement by 
staves. The red thread served as a distinguishing feature. For the rest it requires a 
practised eye to note the said distinction. Basselisse tapestries do not seldom also 
show the alternation of thick and flat ribs. But this has nothing to do with the 
essential character of the woof, it results from careless unequal work, and clumsy 
combing down. Besides it never occurs with periodical regularity. 


4 


CnC hme Ue 








A special characteristic of the low warp technique, not mdeed resulting from the 
peculiar qualities of the warp threads but from the use of the bobbin, will be more 
fully treated in the following paragraphs. 


The low warp loom. 


The construction of the loom of the low warp is much the same as that of the 
old hand-worked loom of the linen-weavers; the weaver’s reed is naturally omitted, 
it is replaced by the weaver’s comb. Plate 12 shows a view of the old Basselisse Hall 
of the Gobelins. The top roller — in the foreground — is covered by a protecting 
sheet, the manufacturers are sitting immediately behind the lower roller. The shafts 
are clearly discernible; so are the treadles by means of which the even and the 
uneven numbered warp threads can be lifted or lowered in accordance to the worker’s 
need. This construction is already shown in the Neilson-Vaucanson improved loom 
of the year 1757; a thread of a screw pushes the top roller forewards or backwards 
according to need, strains or loosens the leaf. The last loom in the hall illustrates the 
simple contrivance, worked by only one man. For the sake of controlling the piece 
of tapestry-weaving, which is actually bemg worked on, the looms are made to tilt 
back. The cartoon is hung up on pulleys at the back of the workmen. In the fore- 
ground one of the weavers is winding the threads upon the bobbins, a second one 
is tracing the pattern through. A ladder leads up to a kind of drying-loft, the place 
where the wools and silks are kept. On the ceiling a stout beam is hung by pulleys, 
it is used to present the finished tapestry-hanging to the spectators view. Plate 13 
shows a low warp loom with the old stretching ropes. The construction is easy to 
understand without further explanation. 

On plate 14, now following, we find the front and top view of the improved 
Gobelins loom, which however in spite of its unquestioned advantages, was very slow 
in becoming universally adopted. As a matter of fact the advantages resulting from 
the possibility of tilting it over, — both the beams together with their transverse 
connecting contrivances can be turned round a middle axis — was only of a qualified 
value. Before the proceeding could be started the shafts, cords and treadles had to 
be dismounted, the pattern pictures and the bobbins to be removed, causing loss of 
time and hindering the advance of the work. As a rule the controlling was post- 
poned till the strip corresponding with the pattern was finished and respanning 
became necessary. 

The tumblers or rollers, which carry the coat-staves are hung from a beam by 
leather straps (pl. 14f and pl. 15). The view from above (pl. 14 fig. 1) shows both 
rollers as well as the transversal reinforcements with their turning apparatus in the 
middle. The pattern to be worked from rests on a grate of about one foot width, a 
piece of grey cloth laid underneath the tracing paper — oiled linen is also used at 
times — shows up the details with greater distinctness and clarity. Below each of 
the primitive seats, nailed on to a beam, dangle the two treadles belonging to it. The 
lower roller is about 21 feet long. There is room on it for about 7 weavers, each has 
about 3 feet space to work in. The text appertaining to Diderot’s plate explains at 
length the advantages of the improved pattern drawing. „La calque est un trait fait 
a lencre et les autres masses (the shaded spaces) au pinceau et rehaussée de blanc. 
La calque est fait sur le tableau original que lon coupoit anciennement par bandes 
pour guider l’ouvrier dans son ouvrage; sans comprendre le désagrément qu'il y avait 
de perdre le tableau pour faire une seule tapisserie, il y avait encore celui de voir les 
objets de droite 4 gauche; comme par exemple, des ombres contraires, le service que 
les figures faisoient de leur main gauche en place de leur main droite, des épées 


5 


Technique 








portées 4 droite, et une quantité d’autres choses ridicules dans la basselisse, qui en 
faisoient la différence de la haute (lisse), que M. Nilson a evitées par tous les change- 
ments qu'il a faits dans ce nouveau métier depuis l’année 1750.” The setting down 
of this paragraph word by word is not without interest. This paragraph is to blame 
for more than one case in which an entirely erronneous idea of the essential qualities 
of the basselisse technique has been given. There was absolutely no need of Mr. Neilson, 
— who for the rest was a capable and industrious superintendent of the workroom, — 
to overcome the difficulties, which could arise from the reproduction of the cartoon. 
Already in the past centuries one knew how to avoid the obstacles by designing the 
cartoon from the very first im the inverted sense, as reflected in a mirror. The 
superimposed pattern design then gave the correct view necessary. One look at 
Rubens cartoon of the allegory in the Decius Mus series (plate 305) and the tapestry 
woven after it (plate 304) suffices to show this, besides there are still plenty of patterns 
which confirm the fact, again and again. The conclusion, which many authors draw 
from Diderot’s explanation, is that by far the greater part of the Flemish and French 
picture tapestries must be haute lisse work, because the characteristic symptoms of 
the mirror reflection are wanting. As a matter of fact however the tapestry hangings 
of Flanders and Brabant, the tapestries of Paris — the Gobelins occasionally make an 
exception — of Beauvais, Aubusson, Felletin are, till the end of the eighteenth century, 
for the far greater part basse lisse manufactures. There is no need for further notice 
here; the matter will be specially considered in the case of each manufactory and 
will be sufficiently made clear by examples and documentary evidence. 

Of course things have been occasionally put in upside down, even such gross errors 
as left-handed figures occur. The letters of the alphabet are the most treacherous, 
especially the S and the N. 

In a further statement we likewise find Diderot at fault. The patterns were not 
at all rendered valueless by being cut to pieces, they were not used once only, but 
as often as one liked. For the rest it seems, that already in the 17 century the 
original cartoons were not pulled to pieces any more. May it not be supposed that 
the reflected designs of the cartoons of the Decius Mus series in the Liechtenstein 
Gallery at Vienna served as an instructive model for the tapestry-weaver, while there 
rested a traced paper pattern upon the grate of the loom? 

Plate 16 shows a cut through the Neilson-Vaucanson model. The rollers with their 
supporting irons, the turning apparatus (b), the scaffold with the tumblers are easily 
discernible. 

Pl. 45 shows the tumblers and rollers — both elements of construction were in use — with 
the coat-staves suspended from them, these are attached by looped threads one to 
the leaf of even numbered warp threads, the other to the leaf of odd numbered warp 
threads. The lower coat-staves are connected with the treadle shafts by ropes 
(pl. 145 below). The lisses or coats upon the upper staves are divided into groups 
according to the thickness of the warp 7, 8 or 10 threads form one pass, a studded 
string marks the separate partitions. The end lisse of the pass is characterised by 
a special colour; the weaver can see without any difficulty if the warp lifted by 
him in the act of making the weft corresponds to the proper coated leaf or not. 

In contrast to the haute lisse technique both warp threads are coated or lissed, the 
typical occurrence, that the even numbered warp threads have to be continually 
pulled out from behind the coat-stave and get slack in consequence can not take place. 

Pl. 17 shows the entire working transaction. It is superfluous to split open the 
warp by help of the bobbin pomt, the threads are lifted and dropped by help of the 
treadles. Therefore the construction of the basse-lisse bobbin (flüte) made of polished 
hard wood varies from the „broche” of the hautelissier. Its lenght is 3—5 inches, 
both ends are pointed in a pyramid shaped manner. 

The work begins on the narrow edge, the blue, brown or black working border. 
The border colour is for the rest of no consequence with regard to the technique 


6 


RCC Osan au e 











employed. Felletin at first also chose a blue edge, although only basse lisse tapestries 
were produced in the manufactory, it was only the competition with Aubusson, which 
was also exclusively at work on the low warp loom and also carried the blue 
edge, which enforced the brown and black border. The basse lisse studio of the de 
Melters and Werniers at Lille makes indiscriminate use of the blue, the brown or 
orange coloured border. Brussels also does not always have the blue edge. Even in 
hangings of one and the same series the border-colour occasionally varies. 

The edges of both the lateral ends are made in the simplest manner imaginable. 
The weft is handed on from one weaver to another — the shafts coming into action 
accordingly, in the same way the return is made; the woof running through from 
front to back is beaten firm after completion. 

The temptation was great to transfer the easy-going technique of weaving to the 
actual pictorial representation, that is, to produce the simplest backgrounds possible, 
which by means of the long woof are quickly done and diminish the cost of the 
production of tapestry by a good deal. The leading Flemish manufactories, specially 
Brussels did not succumb to the temptation, but the proceeding can be traced in the 
productions of Aubusson and still more clearly in the hangings of Felletin. 

Wherever the basselisse manufactory was carried on from a too commercial point 
of view, their productions are easily recognized by the large uniform tints of the 
foreground; a few isolated flower bunches, especially the enormous acanthus bushes 
try in vain to efface the impression. 

Pl. 19 shows the Basselissier at work. The master treads the shaft, the warp 
threads separate, the threads coming into question are helped along by the hand; the 
bobbin is easily passed through the slit. By treading down, the second leaf opens, 
the backward movement is gone through. The woof is executed more quickly and 
more easily than in the haute lisse technique. Besides this, the basse lisse bobbin, 
contrary to the „broche” can be pushed farther through the warp threads; the 
hautelissiers movements are far more restricted in so far as the manner of intro- 
duction — the left hand pulling the warp, the right hand laying in the thread from 
left to right — prevents long woofs. Still the basselissier also cannot go beyond a 
certain limit with his weft which does not exceed about 8 inches. This peculiarity 
of the basse lisse technique makes itself felt not only in the larger colour spaces 
already mentioned, but likewise among other things in the so-called seams, the sloping 
lines where two different departements of work are joined together, which are longer 
in the uniform grounds than in the haute lisse method of proceeding. 

The down pressing of the woof is first done by fingers and thumb nail; for the 
next shoots the basselissier makes use of a small sawe-like instrument, made of ebony 
or hard wood; the comb definitely lays fast the woof, the width of the combs teeth 
takes its measure, like the haute lisse comb, from the thickness of the warp, as a 
rule both sides of the comb are different. 

The following pictorial representations give us insight into the modern tapestry 
hanging manufactories. Pl. 20 and 21 show the highwarp looms in the Berlin Gobelin- 
Manufactory W. Ziesch & Cie., as a counter example appear the low warped tilted 
looms of the Munich Gobelin-Manufactory (pl. 22). 


Technical Details 


It is of course not within the scope of the present treatise minutely to examine all 
the „points” of tapestry-weaving, but still it seems important to become acquainted at 
least with the most essential woofs. 

How a weft is produced has already been sufficiently explained in dicussing the 
looms. The Flemish tapestry, as far as hangings of the 16* century come into question, 


7 


Tech @ ho 2. 





very rarely let the beginning of the shoot thread hang loosely. As far as the tapestries 
which I have been able to work on, permitted a technical examination, two methods 
seem to have been practiced. Hither the loose thread was fastened by darning after 
the completion of the hanging or the thread was slung into the chain (pl. 23). The 
juxtaposition of a Brussels tapestry hanging from about the year 1550 with a pro- 
duction of Beauvais or Aubusson from about 1700 is absolutely convincing. In the 
first case the back of the hanging is covered by countless connecting lines, which 
result from the technique of hatching and the carrying over of the coloured threads 
from one place to the next one of the same shade, skipping over the intervening spaces; 
for the rest the back of the hanging is smooth; in the latter case we are met by a 
wilderness of loosely hanging bundles of threads dissolving the clear lines of the 
picture. A Brussels tapestry-hanging of the van der Strecken manufactory (17 century) 
already shows both methods. The woollen threads still show entirely the old technique, 
the silken ones on the contrary, specially in the borders, hang in loose skeins (about 
1 to 2 inches long), the carrying over of the threads to the next similar shade is as a 
rule still practiced with the silks. WVhat considerations led to a change of this tech- 
nique, which however, even towards the end of the 18 century, was never admitted 
at Brussels to the extent that it had been in the French mänufactories, is difficult 
to say, One reason, which may have induced the French studios to consider the 
carrying on of the silk thread, from one colour field to the next, as unsuited to their 
purpose, was probably the fact, that unequal and too intense straining easily produces 
bumps in the hanging. Colour-technical considerations also had a part. In conse- 
quence of the greater variety of the pallet, drugs came into use, which very much 
lessened the durabilty of the threads. Were the silk threads allowed to hang loose 
so as not to exact too much from the material? Besides this the abnormal multi- 
plication of the transitory shades made the carrying over an irrational proceeding; for one 
thing the same tint was but rarely to be found in the next neighbourhood, for another 
the countless bobbins, dangling from the tapestry, impeded the progress of the work. 
The breaking-off of the thread doubtless gave a better chance of a clear survey of 
the fabric. This question however, as in general the old technique of tapestry weaving, 
still waits to be definitely explained. The explanation seems the more essential as it 
may offer valuable hints to our modern manufactories, which are more or less obliged 
to experimentize. 

A further peculiarity, which we can often observe in tapestry-hanging, is marked 
by the bumps and the fact, that the pictures are more or less out of drawing. 
However simple the technical process of weaving may seem in itself, great difficulties 
are presented to a perfectly exact execution. It is of paramount importance, that the 
warp should lie entirely smooth. If the artist does not possess the necessary amount 
of practice, or the work is too hastily done, there easily occurs a too intense strain 
in the return passage, the last thread of the warp is bent inwards (pl. 24) and in 
consequence of this, one colour is unevenly joined to the neigbouring colour, a kind 
of dell is made. This waviness of the surface has another unpleasant consequence. 
The protruding parts of the hanging are more exposed to wearing out, we not seldom 
find the case, that the tiny bumps on the front are entirely threadbare, while the 
weft on the back has remained intact. This waviness of the surface can also result 
from another cause. The reaction of wools and silks against damp is a different 
one. Only very few of the old tapestry-hangings have propably not got wet 
through once upon a time, the rich series serving as a precious street decoration 
on high church festivals or secular feast days. There is a great difference between 
cleaning a tapestry-hanging in running water and letting it get drenched in a 
down-pour. Even in the latter case the damage can be avoided, if the hanging 
is spread out to dry without being sharply pulled. We likewise meet this 
surface waviness in tapestries, which are hung on the damp walls of a hall, where 
no air can circulate round them. The salpetrous damp, to which the dust of centuries 


8 


Weser AM URI gett eC 








is added as a corrosive ingredient, completely destroys the silks; the woof becomes 
so mellow, that even when gently touched whole rags will break from it and fall to 
powder. This process is seen in a very marked degree in the renowned India series 
in the great hall of the former castle of the Order of Malta at La Valette. 

When the woof, as has been mentioned, is laid, the hammering down with the 
comb has to begin. In the correctly worked tapestry-hanging the weft runs all through 
in straight rowes. One may repeatedly notice, especially in the case of smaller 
manufactories, conducted on purely commercial lines, that wools and silks are not 
worked into the woof with sufficient exactitude, i. e. that for the same heigths in 
one place 10 passes are used, in the other perhaps 16. To regain the horizontal line, 
the weaver had no other choice than to heighten by auxiliary filling the rowe that 
had been interupted by careless work or unequal combing down. That the adjoining 
parts also suffer, that bumps and slits appear, goes without saying. The earlier 
German tapestry-hangings show this evil in a very high degree, but the tissues from 
the manufactories, conducted on a large scale seldom have it. The even laying-down 
of the woof is merely a matter of practice, every beginner finds this difficulty to cope 
with. The beating down is for the rest done in the opposite direction to the woof, 
otherwise the warp is liable to be tightened too much. In careless combing down 
parts of the warp sometimes remain uncovered, which show up unpleasantly as white 
dots — the weaver calls them ,lice’. — The general laws of the woof, which 
regulate the relations of the weft to the thickness of the warp, hardly possess any 
practical importance. 

The formation of bumps may also, under given circumstances, appear in a tapestry- 
hanging that has been manufactured in an entirely correct manner. The warp upon 
the loom is subjected to a very great strain. The tapestry-weaver makes a kind of 
cross-stiffenmg by means of the woof, which more or less weakens the tension of 
the warp according to the thickness of the weft. 

When the tapestry is taken off the loom, the tension suddenly ceases; the threads 
of the warp try to return to their normal position, as far as the woof permits them 
to do so. If the tension has been too strong, the chain puckers, especially in the 
colour spaces which have only a short woof. The ribs no longer run horizontally, 
but in more or less frequent bends. This fact can be observed in countless tapestries. 
Only this „shrinking” of the warp is of any consequence, shrinking of the weft — 
that is perpendicularly to the warp threads — is irrelevant. The more inexactly the 
work has been carried through, the less carefully the weaver has done the beating 
down of the weft the more disfigurating the shrinking will appear. This fact for the 
main part explains the appearance of tapestry-pictures being out of drawing. In a 
coarse warp — the joining of the shoots are fewer, the stiffening therefore is weaker — 
the shrinking is more strongly noticeable than in a finer warp; but the latter again 
has the disadvantage, that the thin silken ligths shrink more easily, the horizontal rib 
is therefore more frequently slightly bent. It is in vain to lay down certain rules 
about the degrees of shrinking; the effect depends on the materials used, on the 
thickness of the warp and the quality of the work. According to a calculation of 
Fénailles, the shrinking of a normal Gobelin-tapestry-hanging is about 5 cın to one 
meter of the lenght of the warp; in badly done work it may exceed this by a good 
deal. The injurious effect of the shrinking is first seen in the alteration of the outlines, 
drawn in the tapestry. If there are any figures standing upright to the chain, they 
shrink together, that is to say they become more slender, the oval of the face becomes 
pointed, if the outline runs parrallel to the chain, as is for instance the case in the 
figures lying crushed beneath the wheels of Petrarq’s Triumph, they become more 
squat, their faces broaden. If the shrinking process is very strong the distortions 
amount to grotesqueness. The pattern-painter, who knows his business, always 
reckons with this unavoidable shrinking. A thorough knowledge of the materials is 
needful to find the proper measure. The shrinking very greatly depends on the fact 


a 


Technique 








of the tapestry having to remain for a long or a short while on the loom. If the 
work is a very extensive one, requiring perhaps a year or longer to be accomplished, 
the woollen chain loses its elasticity; the shrinking is far less. This fact is still more 
noticeable in the cotton chain, which can hardly be said to shrink at all. In small 
pieces, which are quickly done, the danger of shrinking is on the contrary very great; 
the distortions of many tapestry-hanging of quickly producing manufactories are hereby 
explained. There is still a lack of preparatory work to enable us to explain definitely 
the technique of the pattern-painting in regard to shrinking. It would for instance be 
interesting, to compare the Vatican series of the deeds of the Apostles with the 
London cartoons. 

The fact that a shrinking of the figures standing upright to the chain, is always 
less harmful to the whole, may have been among the reasons which caused the 
masters to work the tapestries transversely, that is the figures in a horizontal position. 
Strange to say several French publications dealing with the technique of weaving, 
show the axis of the tapestry-figures parallel to the chain. This mode of proceeding 
is only found in very few cases; as a rule the cartoon is stood on edge for the sake 
of reproduction, that is to say the weaver turns the picture over, beginning his work 
obliquely (pl. 8). This method seems rather peculiar ar first, but there is a further 
decisive reason for it in the endeayour not to make the top roller and the lower 
longer than is absolutely necessary. VWVhen one reflects, that some tapestry hangings 
of the Arras manufactory, possessed a length of 65 feet, it is not difficult to under- 
stand, that the narrow end, which in rare cases also attained to 22 feet of breadth was 
necessarily chosen to work from. What was considered good for the enormous 
Arras and Paris tapestries of the early time, was naturally the rule for the small 
German looms which chiefly produced long and narow bands of tapestry. 

The turning over of the patterns is further made good by technical requirements, 
especially for solving the problem of hatches and gaps. 

The weaver is dependent on the structure of the warp threads, which — contrary 
to embroidery — compels him to work in steps, which must be in accordance to 
the distance of the threads of the warp and to the design of the picture to be copied. 
The nearer the drawing of the perpendicular lines comes to the warp threads, the 
broader the steps become (pl. 26); the more parallel they get, the steeper become 
the steps. If an outline of the pattern falls together with the direction of the warp 
threads a gap ensues. 

A typical, often disturbing appearance is presented by the sloping lmes which are 
seen in the tapestry-hanging, specially in places of uniform colouring and which the 
weaver alludes to as seams (enlevages). There are two reasons for this symptom. 
The production of the tapestry-hanging goes on step by step, it rises gradually from 
the finished parts, it is dependent on the making of the coats; a casting over of the 
threads of the warp is out of the question. The peculiarity of the technique ex- 
plains the fact, that spaces of uniform colour cannot always be accomplished in one 
working bout. The weaver must pause to take up a neighbouring colour patch, 
after which he can go on with the part first begun. In the course of examination 
the proceeding will be further demonstrated by an example (pl. 39). For the present 
it will suffice to say, that the interruptions of larger colour spaces are not made by 
arbitrary lines; the weaver lays the steps at an angle of about 45 degress. If the 
steps are made very narrow or the woof is laid very closely, in course of time the 
weight of the tapestry infallibly produces a very visible slope (pl. 27). The French 
and Dutch manufactories of later times avoid this fault and make their steps com- 
paratively broad, the joining is done without any technical difficulties, the only dis- 
advantage being the slits running parallel to the warp threads, which have to be 
darned. Ä 

If we consider the kind of seams shown in the old French and Brabant tapestries 
it is found as a rule, that in practice the preference was given to quickness of pro- 


10 


enc Thani ¢ "ue 











duction, rather than to the quality of the construction. The slopes are worked 
without steps; the joining is put on without any binding, the slope has been visibly 
darned on the front of the tapestry with coloured silk. Comparatively often we find 
the more genuine method of the rounding off or finishing shoot. 

This method is continually adopted except in cases of seams, when it is a question 
of at once sharply and softly defining the thin outlines of a leaf or something of the 
same kind. The step-method which was indicated by the structure of the warp 
threads is given up; the finishing-off weft — the woof is wound round the warp threads — 
easily adapts itself to the form. The process is shown in plate 28. For the rest in 
the case of the large figures of 15 and 16 century Brussels tapestry-hangings, this 
rounding-off is hardly taken into consideration for the black-brown outlines, as their 
width is usually extended over two or more warp threads and it is always avoided 
to lay two or more finishing shoots over another. The proceeding, as simple as it 
looks, requires some practice, the thread must not be too tensely drawn, at the same 
time it must not become knobly. To guard against any gliding off from the warp, 
the rounding is always done from the top downwards; the end of the thread is left 
to hang loosely. 

The seam does not only occur when it is a case of the periodical execution of a 

large colour space, in its second phase it marks the working boundaries of the 
different weavers, busy on the same loom. According to his capacity, according to 
the difficulty of the pattern, one or the other of the workmen gets on more quickly, 
he has to close his work department against his neighbour’s. If the colouring is in 
any way favorable, he lays a seam to which the neighbour can join his own work 
later on. This proceeding is not very good in an artistic sense, as the next weaver 
does not always find the suitable joming tints; a shade that is to yive the impression 
of uniformity, is without any sense parted into different zones by the sloping line of 
the seam. 

The entire structure of tapestry is founded on the hatches “hachures”, which can 
be compared to the hatched lines in a drawing. It is only by their help, that the 
weaver can transmute the values of the painter’s pallet into his own work, in them 
is embodied the strongest power of the tapestry-weavers during the past centuries. 
We must remember, that in the great time of pictured tapestries, in the 15%, 16 
and part of the 17™ century the colour directions of the cartoon designer were, with 
the exception of some such notes as, — flesh colour, hair-brown etc. —, restricted to 
very few hints. It was the weaver’s business, to invent a method, fitted to the require- 
ments of his art, by which the gradations from light to shadow could be carried out. 
The problem was solved by the introduction of hatches. Another feature of the case 
is, that in former times the executing master had only a limited pallet at his diposal, 
in consequence of the imperfect development of the dyer’s art. The weaver had of 
necessity to perfect the hatching technique to the utmost limits, if he wanted to produce the 
desired effect with his scanty colours. The more richly and ingeniously the master 
handled the hatches, the more transition tints began to flower, the brighter hued the 
tapestry became. 

The hatches run pretty nearly at right angles to the warp threads, an essential 
reason why the figures of a tapestry-hanging should be worked transversely. The 
suitability of this arrangement is denoted by another technical peculiarity. Every 
figure, every tree, every piece of architecture, shows a surpassing amount of perpendi- 
cular lines. If the method of transverse weaving is departed from, the figure or the 
tree being therefore worked on lines running parallel to the warp threads, countless 
slits appear, which by the side of the unusual horizontal position of the hatches are 
extremely unpleasant to look at, and which besides very much impede the durability 
of the tapestry. 

So as to make clear the peculiarity of the method of hatching I will explain the 
technique in general. In the Dutch art of the 15%, 16 and for the most part also 


li 


Die Gh Wargo 








of the 17 century, the hatched lines run exactly perpendicularily to the threads of 
the warp. For the rest, there is no law as to this position, it changes in course of 
time in the various manufactories. 

The length and thickness of the hatched lines is independent of their direction. Strong, 
long-drawn hatches, freely cutting into the neighbouring colour patch and giving to 
the whole work an austere and monumental character are found as a peculiarity of the 
early time, specially in Arras, Tournai and Brussels. In course of progress the hatches 
begin to multiply, more transition lines are produced; the single layers become narrower, 
shorter and finer. 

In general the hatching follows the design of the pattern, for instance the folds in 
a drapery. An example will make this quickly understood. 

A—B in plate 29 is the outline given. The hatching is now laid on in such wise 
that the single steps form parallels to A B. Each hatched line in our example consists 
of four steps, it shows the colour of the patch on the left and cuts over into the tint 
of the ground on the rigth. A transition of a fourfold differently hued effect is produced; 
the beginning and the end melt into the colour of the background. Of course the 
line C—D need not run parallel to the warp thread, as was assumed for the sake of 
simplicity, in this case also the direction depends on the picture to be copied. 

The task becomes more complicated, when several hatches of different hues are to 
be made, so as to produce the desired effect. Take for instance, a robe is to be woven 
in different shades of red — I have before me a plate from the work of Demotte, 
published a little while ago which shows part of a Brussels Tapestry from about 1520. 
The transition is effected by two alternate hatches in reddish brown and carmine. 

To understand the technique, some simple ligatures must be explained. The woof 
goes, as has been said from left to right. The weaver first puts in the space of colour 
marked by the letters A, B, C, D, E, F (pl. 30). The next thing to be done is to join 
the second colour B, C, D, E, H, I, on to this. The proceeding is the same, the only 
difficulty occurs on the line D C. Here there are not as usual two threads running 
parallel, which are united by the comb in the manner required, but three. The joining 
thread is pulled out of the woof at C D, it hangs down as a tiny loop „a” on the 
back. The down combing can now go on without further ado. In a similar way the 
process is developed if a third colour patch is laid over the first, a second one over 
the fourth. The proceeding is best seen in a coarse warp with a woof of corre- 
sponding thickness. If the tapestry-hanging is of very fine warp the weaver as a 
rule is not very conscientious, he leaves out the loop. By sharply combing down the 
technical defect is hidden. The slit D E is closed by a seam, when the tapestry is 
completed. The method of intertwining, as practiced in the Gobelins and at Beauvais 
is seldom found in Flemish and Brabant tapestry, which exclusively make use of dar- 
ning. In spite of this we do find intertwinings in Dutch works, but not for the sake 
of closing a slit, but for the joining together of single threads of the warp, only 
covered by narrow strips of colour. 

The ligature is done in such a fashion that the weaver starts at colour A with a 
half pass (pl. 31) colour B is crossed over thread A at I and makes a complete weft, 
A now concludes the end turn of the woof and is laid over B at II and so on. It is 
easy to understand, that the Dutch manufactory avoided this way of joining together 
requirmg so much time and finished off even such gigantic slits as the beginning of 
upper and lower borders by seams, a proceeding whose durability has been tried in 
the course of centuries. The newer method, to give large slits a better hold by the 
periodical introduction of bindings from 2 to 4 inches long, is not found in earlier 
Dutch work — as far as my investigations permit me to ascertain. On the other hand 
a technique is occasionally to be met with whose effects remind one of the „beaten 
hatches” and whose peculiarity will be dicussed at greater length. The method simply 
consists in alternately leading the woof of the border chain to the one or to the other 
colour patch and thereby causing the pieces to jom. This proceeding is particularly 


12 


ie chn% que 








suitable to the purpose of uniting spaces of nearly related colours, for instance if white 
is to be joined to light yellow, yellow to brown and so on. White and yellow dots 
are then dovetailed into each other (pl. 32). In the end the method leads to Deyrolle’s 
system who for the sake of producing new tints purposely combined free colours with 
each other. 

In narrow colour-strips, specially when these are of a marked irregularity, the com- 
bination becomes an absolute necessity. Pl. 33 gives an example of this kind. 

The three colours combined are A, B and C. The first A is produced in the usual 
way, the number of threads of the warp varies according to the direction taken by 
the lines of the pattern. The introduction of the narrow strip B and its joining on 
to C is a more difficult matter. If the colour patch B still covers three or more 
threads of the warp, the joining is not technically necessary, but if only one or two 
threads of the warp remain as bearers of the colour, then they must be intertwined 
with the adjoining colour, if the structure of the woof is not to be endangered. 

To return to the double and treble hatches. The foregoing technical explanations 
will have made the process quite clear (pl. 34). The tiny loops made by the leaving 
out of the thread are distinctly seen. In Demotte’s example, hatch I is a brown red, 
hatch II a carmine, the ground raspberry coloured. The gradation of the single hat- 
ches, as was mentioned, entirely depends on the character of the model picture. 
There is no necessity for the different sections to be laid in symmetrical, uninterrupted 
lengths. If for instance a sharp fold in a drapery is to be depicted, it is necessary to 
strongly reinforce the transition tint, that is to multiply and shorten the sets of hatches 
towards the shaded background. 

Double sided hatches are chiefly used when short deep shadows are to be acccen- 
tuated on a lighter ground. 

Lacordaire explains a newer method of hatching in his ,Notices”, which had no 
importance for the manufacturing of picture tapestries until the beginning of the 
49* century. It is the system of Deyrolle, which was taken up about 1842 in the 
basse lisse workrooms of the Gobelins and later was also adopted for the loom of the 
high warp. The inventor, a man of vast practical experience starts from the principle 
of „superposition”, that is he lays differently dyed hatches alternately one accross the 
other, the harmony of both hues brings out the desired shade. PI. 35 illustrates the 
scheme of the „hachures 4 deux nuances”. Hatch I is red, hatch II blue, II red 
again, IV blue, the end result is a glowing violet. If reddish and greenish hatches 
are laid next each other, a soft grey ensues, red and yellow bring forth orange, blue 
and yellow an intense green. The method endeavors above all to reduce the dyeing 
process as much as possible and to bring forth colour values whose chemical produc- 
tion would cause the greatest difficulty and cost. The disadvantage of the proceeding 
lies in the fact, that the fading of the superimposed hues does not take place in the 
same measure, so that the desired consonance of colours is only of short duration and 
gives place to incalculable hues which often rudely disturb the colour harmony. The 
process reminds one in a certain sense of the fading of many Flemish 17 and 18 cen- 
tury „verdures”. The superimposed yellow dyes faded, the underlaid intense woad- 
— indigo — dye made the leaves appear a bright blue. On the other hand we also 
find the reverse of this, the superimposed blue proved the weaker part, so that the 
leaves turned yellow. Deyrolle’s system is, as far as I know, nowadays no longer in 
use in any European studio. The proceeding was abandoned by Gerspach in the 
French State manufactories in the year 1888. 

The Deyrolle method was nothing new even at the time of it’s being invented, it 
is mainly remarkable for the systematic conclusions which lead to a regular science 
of chromatics. Deyrolle started from a proceeding that was already empirically prac- 
ticed in the 16 century. If a picture tapestry uses both wool and silks, a multiple 
charging of the silk flutes is required, specially in the thicker warps, to bring them 
to the same level as the woollen. 


13 


Tiechn4 gue 





For certain effects, for instance the glitter of a blue steel coat of mail, the weaver 
used to put blue and white silk upon the flute. He thereby obtained level surfaces 
on which the blue and white dots vibrated in peculiar half tones. The method has 
been cleverly employed, for instance in the armour of the bearded warrior on the 
Brussels Jakob and Esau tapestry-hanging (pl. 374, 382). The „jaune — verdätre” of 
ancient renown was also produced by the same means of working. Dark green 
shades dissolve in the bright yellow of the lights. To soften the transition, yellow 
and green silks were superimposed together. The baroque tapestry made still more 
intense use of this proceeding. In the allegorical tapestry - hangings of the Brussels 
Decius Mus series — Decius (Mars) and Roma (pl. 304) — the fruits of the border are 
done in a fashion — by spooling pink and green silk together a grey hue is produced — 
strongly reminiscent of Deyrolle’s system. 

The „stratification” („battages”), not to be mistaken for the technique of working, 
in layers employed by the Skandinavien manufactories, is mainly used for standing 
up columns, shafts of lances and such things, that is im cases, in which a melting into 
each other of the colours by hatching of the usual kind is rendered difficult, from 
the simple reason that no change of colour is possible for a long distance. In spite of 
this, Flemish tapestry- weavers have tried to solve the problem of perpendicular 
shafts of columns — in the process of weaving they lie horizontally — by aid of 
the usual hatches. The effect has not generally been a happy one. Ingenious masters 
found a way out of the difficulty by dissolving the columns in colour patches, pro- 
ducing the illusion of variegated marble or coloured sandstone. A typical example is 
shown in the already mentioned allegorical tapestry of the Decius Mus-series (chapter 
Brussels). Countless numbers of coloured spots are cleverly put next and over each 
other, the roundness and character of the stone is thereby aquired in a somewhat too 
laborious technique. 

The stratification consists in a system of superimposed strips of colour, which try 
to attain the transition from light to shade by their changing aspect, they are in a 
certain sense precursors of Deyrolle’s system, from which however they differ in a very 
essential particular, they do not aim at attainıng new shades of colour, but plastic 
rounding of surface. In large structures the differentiation at times becomes rather 
complicated. Two (pl. 36) or three tints have to be worked in so as to render at 
once the plasticity of the form and the colour of the material. Definite rules cannot 
be given, the weaver’s capacity and sense of colour being alone responsible for the 
issue. The cases in which the technical capacity has been found wanting are only 
too often met with even in the older hangings. The columns appear flat, sometimes 
even crumpled or bossy. 

The „stratified hatches” (hachures en battages) can only be used for narrow bands, 
perhaps for the shaft of a lance, a stick, or the edge of a volute. They are the more 
useful the further the lines depart from the horizontal. The proceeding leads to a 
transition zone between light and shade and containing elements of both hues, pl. 37 
illustrates the technical process. A is the colour of light — B the colour of the shade. 
The weaver works from light to darkness. He starts with A and lays a com- 
plete weft. 

The thread B is fastened above (croiséed) and also makes one woof. The width 
of the weft has to be laid so, that in normal cases the entire span is divided into 
three equal parts. VVhen there are 12 warp threads the shoot A covers 8 threads 
from left to right, B accordingly the same number, that is the dark, the light and 
the transition zone take up one third of the width each. If the effect of the light is 
to be either strengthened or weakened, this division has to be altered accordingly. 

The further advance of the weft can be clearly seen in the plate. The repeated 
verging of one colour into the other makes a replenishing of the colour A and B 
necessary. When the work is combed down, the picture already mentioned is pro- 
duced. Instead of two colours one can also use three or more. 


14 


LRCR Cu Ast gue 








The essential point is always, that the technique should be in accordance with the 
work already done. Pl. 38 shows part of a volute worked on the principle of stra- 
tified hatches. 

The difficulties have already been repeatedly pointed out, which present themselves 
to the uniform carrying through of equal colour patches. These depend partly on the 
length of the weft, partly on the peculiarity of the lissed warp threads. A simple 
example — a volute — will most quickly explain the technical process (pl. 39). The 
weaver must always remember to give each leaf a free scope, that is he must not 
put m any flat spaces, which transgress the warp threads in such a way, that one 
system is entirely cut out and an empty space appears. 

The master begins with the ground at 1, he then finishes off part 2 of the volute, 
at a—b there appears the usual slit. If the band of the volute is very narrow if only 
two threads of the warp are needed for it, it is Joined to 1 and worked in together 
with the ground. Then follows ground 3 up to the dotted line I. After the super- 
imposition of the part of the volute 4, ground 5 and the narrow volute 5 are finished 
off with their respective bindings. The same process is gone through in ground 6 
and volute 6. It is only now that ground 7 can be done. The lower part of 8 covers 
a sufficient number of chains to enable it to do without bindings, the narrow elevation (8) 
is produced conjointly with the ground (8). Ground 9 is put in, together with part 
9 of the volute, 14 is laid on 10, ground 12 closes the whole fabric. Even this 
example, simple enough in itself shows sufficiently the difficulty of a correctly 
finished woof. The work is at once much simplified, if the band of the volute is 
made somewhat broader. The irksome bindings could then be omitted, seams did 
away with the slits on the turning-points, parallel to the cham. Of course the 
weaver tries to get out of making the bindings as much as possible, he arbitrarily alters 
the design, unless the pattern painter has been judicious enough to consider the diffi- 
culty. If we turn the volute round about 90 degrees, that is, if it appears in a hori- 
zontal position, the work is far simpler to accomplish. 

A peculiar artistic interest attaches to the so-called contour-slits, which are 
very often used in Brussels at the best time and always with a good result. The 
effect of these slits is especially good, when characteristic lmes are to be depicted 
independently of the hatching technique in one and the same colour or in one of 
nearly the same hue. If for instance the lachrymal bag underneath the eye is to be 
accentuated, the weaver makes the perpendicular steps — when the tapestry is hung 
up the slits then appear horizontal — in the desired curve longer than usual, tiny 
crevices appear, which are widened by the weight of the tapestry and form a slight 
but cleary visible line (pl. 40). The same proceeding is taken recourse to for the 
rounding of the chin, the profile of the nose, the showing-up of the knuckles 
or the kneecap, the delineation of details in clouds and in countless other cases. The 
artistically perfect rendering of the slits belongs, in spite of the simplicity of the tech- 
nique to the most difficult knacks of tapestry weaving, it is the most essential criterion 
for the highest standard of tapestry-weaving. 

It is often regarded as a fault when the hatches do not run perpendicularly to the 
warp threads. The accusation is only justified for certam epochs and even then only 
with important restrictions. The long perpendicular hatches are particularly characte- 
ristic for Dutch work of the 15 century. As early as the 16% century the endeavour 
is noticeable to shape the hatches in accordance with the outlines, that is to curve 
them from the very first. In the 17 century the method was further elaborated. It 
became the rule when fruit or leaves were to be plastically represented. However 
these curved hatches remained foreign to the usual tapestry - weaving of the Nether- 
lands, they are above all characteristic of the manufactories of France. The details, 
which play a certain part as tokens by which the different workshops could be recog- 
nized, will be more fully examined in the second volume of my « Lapestries”. 
A second peculiarity also seems to have been taken from the art sphere of the 


15 


Tie ch m Gag ue 





southern neighbours, the introduction of colour spots to the exclusion of hatches. 
If for instance a leaf is turned down, then the deep shadow space is shortly charac- 
terised by a black brown or dark green spot, from which the light green is imme- 
diately set off. The method is among other places to be found in the Felletin works 
of the early Renaissance, for instance in the Hero series of Saint-Maixent. It was 
enthusiastically taken up by the manufactories of Flanders, as it saves a good deal of 
time and trouble. Brussels likewise makes use of the technique in small spaces. At 
the beginning of the 17‘ century it gamed considerable influence by the invention 
of the cartoon painted in oils. 

To sort out the different manufactories by their technical peculiarities with absolute 
clearness and certainty is an undertaking, which presents extraordinary difficulties. 
There are no preparatory studies of any importance to fall back on. After having 
examined the tapestry-hangings of all kinds of manufactories I can assert that such 
distinct characteristic tokens can be found for special manufactories even for groups 
of workshops in the same weaver town. A certain verging of the different workshops 
into each other is of course unavoidable. Brussels masters found manufactories in 
foreign courtries. The work at first bears unmistakably the Brabant stamp, after 
ten years of existence the structure of the tapestry — native auxiliary forces have been 
admitted, the stores of materials have been put onto a completely new basis — already 
shows marked peculiarities. How clearly the contemporary weavers could recognize 
technical signs is best shown by the report of the Paris master who carefully studied 
the Flemish and French workrooms about the year 1695. 

The expert in speaking of Amiens remarks, that the studio indeed used well dyed 
wools, but that the drawing was sometimes faulty „et il est fort facile de reconnaitre 
quelle étoit sa maniére de travailler le grain (the structure of the tapestry hanging) 
qui est inégal et desséché”. Of Bruges he says "Cette fabrique n’est pas difficile a 
connaitre; son travail est tout de laine et peu de soye ... et d’un grain dur et mal 
travaillé ce qu’on remarque aisément a des chaines grosses et velues” etc. About 
Enghien he is still less complimentary... „un de leurs défauts ordinaires est de mal 
monter leurs ouvrages, ce qui est cause que leurs chaines ne sont pas bien couvertes” 
the expert criticises the already mentioned ,lice”. The differences in the grain Of the 
differenti workrooms are indeed visible to the practiced eye, but difficult to define. 
Tedious examinations and practical work on the loom will alone enable us to gain 
absolute clearness as to the technical points. Typical for the workrooms conducted 
on chiefly commercial lines is in every case the desire to shorten the process of pro- 
duction, resulting in a multiplication of seams, the avoidance of too carefully detailed 
hatches, the limitation of the colour scheme. 


16 


Completion ofthe Tapestry. 


Repair of damaged hangings. 


The closing of the seams is often reckoned among the works of repair. As a matter 
of fact it had to be done in a more or less extensive fashion to each newly fini- 
shed woof. 

It is an undeniable fact, that the productions of the high warp loom show fewer 
seams, than the works of the low warp looms, indeed much sewing can be regarded 
as a characteristic feature of the basse -lisse. The Gobelins of the 18 and 19 cen- 
tury make use of intertwining and dovetailing to a great degree. The tapestries from 
the commencements of the Paris manufactories, which are still entirely under the in- 
fluence of Flemish masters, show a good deal of darning. Before all, the excessive 
occurrence of seams is the sign of a commercial undertaking, even pure haute- 
lisse tapestries such as a few early hangings of the Tournai manufactory have a good 
many seams to show. 

The slits are produced, as was already hinted in the previous chapter, in places 
where the outline runs nearly or quite parallel to the direction of the warp threads. 
As long as they do not appear in other places, there is nothing to be said against the 
practice of darning. It is always done with special care in the older manufactories. 
Even from a short distance the darn is no longer visible. The durabilty of the 
tapestry- hanging has in no wise been impaired, as countless examples prove. In 
reality however the technique of darning is carried much farther. One did not stop 
at the parallel slits, in large manufactories — Brussels also offers many similar exam- 
ples in its most flourishing time — darns are laid, even when the technique does not 
at all demand such a proceeding. Instead of the sloping seams (enlevages), which 
besides are often likewise darned, the weaver leaves the joining piece which is to 
fit on to the next in a curve; the work being then continued, the pieces are joined 
by darning. The slit- effects mentioned are also sometimes produced by darns; 
the method of darned outlines is specially popular in the formation of clouds. 

The Flemish tapestry - hangings are all of them sewn in front. The proceeding is 
as a rule not very striking, as silk is used, which matches pretty nearly the colour 
of the patch that is being darned. The Paris tapestries of the 16 and 17 cen- 
tury are also produced on the same principle. The Paris decrees of 1622, 1625 and 
1627 are the first to prescribe that: „il sera défendu de coudre les relais des dites 
tapisseries de fil blanc” because the white sewing-thread, if used carelessly is liable 
to come out unpleasantly in front — „mais de toute autre sorte de couleur les 
pourra-t-on coudre, et le tout par l’ envers”. How darning of this kind is done 
from the back is shown by the plates in Diderot’s encyclopedia. Pl. 41, fig. 4 un- 
mistakably shows the sewing-stitch of the haute-lisse work, fig. 2 the same procee- 
ding on the low warp loom. 

The endeavour to increase the rate of production as much as possible, early led 
to a very bad habit. The tapestry was not woven in one piece. Not only the bor- 
ders are separately worked, but parts of the middle representation are produced on 


2 47 


C0. |p) Heme mo en 





different looms or even in other studios. Fortunately very crass cases — in the year 1566 
the Antwerp weaver de Ram put the figures into the landscape, the Brussels master 
de Buck did the figures in a Solomon-series — are rare. The separate working 
of the borders can be traced as far back as the 15 century. In urgent cases, and 
provided the person ordering the tapestry has expressly given his consent, the Brus- 
sels decree of 1525 permits „den boert boven van den zelven wercke” that is the 
upper and probably also the lower border, to be worked separately. The decree 
of the emperor Charles V. of the year 1544 concurs with this in paragraph 40. The 
fault is not a very grave one, because as it was the two long borders, with the ex- 
ception of the lateral junctures had to be joined on to the picture part by darns. 

The Gobelins also made no exception. For a time it became the general rule not 
only for the upper and the lower border, but for the entire frame-work to be sepa- 
rately worked. It could then, according to wish and need, be fitted on to the pieces, 
it could be lengthened or shortened ... The reports which Calmette gives in the 
fourth volume of the big Fénaille work are particularly instructive. Some borders, 
for instance the one round the „Death of Leonardo da Vinci” by Ménageot, were 
pieced together in several places. 

The darning did not mean the definite completion of the tapestry-hanging. A 
minute examination of the entire piece followed. With a blunt press-needle — a 
kind of bodkin — the patches that had not been sufficiently combed down were 
firmly pressed down, slightly faulty outlines were corrected. Special attention was 
paid to the „lice” (poux), that is the uncovered spaces of the warps. In case of 
graver errors the piece in question was unpicked and done all over again with the 
needle. The hair-bags, „crapauds” as the expression of the Gobelins named them 
later on, were unpleasant things to deal with. It was a case of the weft having 
been insufficiently done, the thread of the woof bemg taken over several chains and 
hanging down in loops on the front. These parts were taken out, the weaver star- 
ted work as Rentrayeur with the needle. If gross errors of drawing had been com- 
mitted, the wardens of the guild made use of the same radical means as the depart- 
ment directors of the Gobelins, to the great displeasure of the culprits. The early 
decrees already forbid a fraudulent hiding of the place by darning. 

In extensive erasures the warp sometimes had to be sacrificed. Such reknottings 
of the warp threads are often found in old woofs, in most cases however it is no 
longer possible to decide, wether they have been done at the time of production or 
if they are early or later mendings. 

Lastly there is still one not inessential proceeding to consider. The back - lining 
of the tapestry-hanging. The proceeding was already repeatedly mentioned in the 
accounts of the burgundian Dukes of the house of Valois. For over five hundred years 
we find the practice of distributing the often very considerable weight of the tapestry 
in different places. The tapestry was protected by stripes sewn on to the back which 
cover the border and which are stiffened by other pieces of 40—60 cm sewn on per- 
pendicularly to the warp threads. At the same time knitting the entire fabric together 
in such a way as to prevent its being dragged away or torn. Besides this we also 
find the entire back of the tapestry lined all through. For this a middling fine linen 
seems to have been most generally used. 

Much has been written against the lining of the back; it is supposed to make the 
cleaning more difficult and to offer better hiding-places to moths. Now I have 
observed, that on the contrary, the firm sewing on of the tapestry to the back lining 
— specially the sides must be tightly closed — will afford sufficient protection against 
moths, if the nests have been carefully removed previously. The juncture seams are done 
in soft coloured silks or half-silks and laid in distances of about 2 feet from each other. 

In all likelihood the old back linings were impregnated with some strong moth- 
destroying essence, in any case careful measures were taken before the covering linen 
was put on. 


18 


ClO ep 6 ett Oo 7 





Repairs seem indicated in all cases, in which the tapestry to be mended justifies 
the restoration by its artistic value and if one can be sure of effectual and skilful 
work. 

Every restoration should to preceded by a thorough cleansing. Guiffrey, probably 
the best judge of „Rentraiture”, recommends the hanging of badly dirtied tapestries 
in running water for 24 to 36 hours, a proceeding which is specially taken recourse 
to at the Gobelins, or if there be no river at hand to soak the woof in a bucket, 
repeatedly changing the water. In pieces, which are still in pretty good condition, 
the back — lining is to be first ripped off, if the tapestry is badly damaged then it is wiser 
to clean both woof and linen lining at the same time. The finishing cleaning is done 
by a soft brush and Gall soap. In any case the washing must be most carefully 
done, as mellow threads of the warp may easily break. The tapestries must not be 
streched out to dry, the warp being especially liable to tear when damp. The tapestry 
should be laid on sheets and then smoothed out, without too much pulling. 

The most important operation consists in the restoration of the destroyed warp 
threads. The putting in of the new warp requires a certain amount of practice and 
care, specially if it is an old and mellow woof which is to be handled. Often more 
mischief than good is done by the introduction of new warp threads; the space mended 
indeed remains whole, when the tapestry is re-hung, but the warp threads near it 
break off. After the introduction of the new warp threads follows the careful selec- 
tion of the wool — and silk — woof required. This touches the sorest point of the 
Rentraiture. In every case a more or less thorough fading has to be reckoned with. 
The colours must therefore be chosen of a stronger hue, at the same time it must be 
borne in mind that the delicate shades suffer more from exposure to the light than 
the „free” colours, blue, red, and so on. But even in the latter case the technique 
of the dyeing must be considered. Conscientious manufactories expose the wools and 
silks to be used for some time to the light, so that the risk is much diminished. The 
honest proceeding, by which the colours put in, show stronger hues with regard to 
their fading, has this disadvantage, that the repaired pieces at first stand out markedly 
from the general colour harmony. The possessor mostly prefers to get the mending 
done in the old colour values. The result is at first a favorable one, but unpleasant 
experiences cannot but follow. 

__ If nowadays, as a rule, cotton is chosen to repair the warp, lambs wool and silks 

are still used for the weft. The woof is made with the needle; large holes are some- 
times woven separately and put in afterwards. Not all hues of the old tapestries 
stand in the same need of restoration. The dark brown and grey tints are those, 
that have suffered most; the reason is to be found in the process of dyeing, in the 
use of ferruginous ingredients. Pictured woofs of the 16 and 417 century which 
show wools and silks of this kind in entire freshness are always suspicious, the pro- 
babilty that the whole fabric is a counterfeit becomes an unpleasant certamty. In 
general the pictured woofs of narrow warp have been better preserved than the 
coarse warps. The reason being that for one thing as a rule better materials were used, 
for another that the narrow warp, the sharply beaten weft offer a more effective 
resistance to moths. 

The process of restoration is dependent on the strength of the warp threads, the 
subject rendered in the picture, the number of different colours and the technique 
used, besides of course the degree of destruction. A narrow warped woof of the 
47 or the 48% century requires far more material and far more time than for in- 
stance a gothic tapestry of coarser warp and limited number of colours. The juxta- 
position of the history of David in the Cluny Museum or the series of St. Remigius 
in Reims with the India series of La Valetta offers drastic examples. 

The illustrations 42, 43, 44 and 45 show different woofs in the original state of 
decay and after restoration. The work has been partly executed by the Berlin and 
partly by the Munich tapestry-works. 


19 


Co m\pNaiwo wv 





Lastly some short hints may be offered as to the treatment of old tapestry - han- 
gings. The chief source of evil, which in time must result in the destruction of the 
woof are dust and damp. The structure of the woof necessitates the admittance of 
air, if it is not to grow fusty — let alone to be eaten by moths. The wider the 
space of -air between the wall and the tapestry- hanging the better. The least that 
must be given is an air space of about 2 inches. Abrupt changes of temperature 
are likewise injurious, as it causes the tension of the wools and silks to change too 
rapidly and results in their decay. The injurious influence of very damp air — the 
woof is hygroscopic — has already been mentiond. Continually overheated rooms 
also have a bad effect. The woollen material looses its natural dampness and unctuous 
substance, it becomes rough and ugly. Tapestries should not be hung up near fire- 
places or near heating apparatuses of any kind. It is well known that, by the 
circulation of the air a continual whirling-up of the dust takes place near hot air 
pipes. The tapestry-hanging is the natural dust-collector, two enemies attack 
it at the same time, heat and dirt. If it is not possible to hang the tapestry im a part 
of the room away from the heating apparatus, then at least the pipes should be covered 
up — the best thing is a gauze- filter — and the dryness lessened by evaporation 
vessels. The surest way of preserving valuable tapestries is to watch them conti- 
nually. If moths are destroyed in good time the damage done can never be very 
great. Spring and autumn are the best seasons in which to impregnate the tapestry 
against moths. 


Colouring 


When the scale of colours characteristic of tapestry-hangings was first settled can 
hardly be ascertained, owing to the scarcity of early medieval pictured tapestries. The 
oldest occidentals woofs, the fragments (about the year 1000) from St. Gereon of 
Cologne (pl. 46) which have been divided among the Berlin Schlossmuseum, the German 
National Museum, the South Kensington Museum and the Collection of Textiles at 
Lyons, are worked in single coloured spots set next to each other, like mosaics. The 
strong red outlines are a characteristic mark. The Baldishol-tapestry of the Museum 
of Applied Art at Christiania is worked on the same principle. Neither does the 
Angel-tapestry (of about 1425) in the cathedral of Halberstadt show any transitions 
between the different shades of colour by hatches. The triangularly pomted bright 
and dark spots of colour in the Apostle-series of Halberstadt, can hardly be looked 
upon as a first step in this direction. The dependance of the tapestry from con- 
temporaneous Byzantine paintings is unmistakable. The two narrow strips of tapestry in the 
Town Museum of Fribourg (pl. 47) show an intentional division of the transition from 
darkness to light in the form of several shades of the same colour laid next each other. 
These tapestries may date from the first half of the 14™ century. On the contrary 
the Apocalypse at Angers, begun in the seventh decade of the 14 century shows a 
fully developed technique, which next to the‘'method of mosaics is also acquainted 
with hatching and even repeatedly makes use of the slits to obtain certain effects. 
The work presupposes a good deal of experience. The Arras tapestry-hangings of the 
early 15 century have brought the system of hatches to artistic perfection. Might 
not the fact that the German and small French manufactories — Felletin — still keep 
on the mosaic manner for a long time to come, lead to the conclusion, that hatches 
are the result of commercial considerations in such manufactories as conducted their 
business on a large scale? 

The peculiarity of the Flemish-Brabantine scale of colours is founded on the struc- 
ture of the materials — wool and silk — on the dyer’s art and on the process of weaving 
itself. VVool is a material which swallows a good deal of light. As a logical con- 


20 


Geanien, is alka oO 7 





sequence large uniform spaces, which always look dead and dull are opposed to the 
essential character of tapestry-hangings. It is only by superimposed lights, by manifold 
details and variations of colour, that the woof is changed into a living and glowing 
work of art. The peculiarity of the technique affords every opportunity to the desire 
for richness. Uniform spaces are only with difficulty to be vanquished by the technique 
of hatching, which invariably falls out with the few colours at its disposal. We ob- 
serve this fact in a quite typical manner in the rendering of flagstones in a hall, free- 
stones and such things. The master as a rule prefers to enliven the flagstones by 
patterns and to give the illusion of the freestones being marble or sandstone by 
painting them in divers colours. It is the same thing in case of the delineation of big 
animal bodies. A rich harness saves the weaver the complicated drawing of the broad 
chest of the horse by aid of hatches. 

_ Garments offer fewer difficulties, the lively movement of the drapery-folds prevents 
any chance of monotony. The superimposed brocade patterns are less the result of 
technical considerations, than of the delight in rich, luxurious decoration. The use of 
metal threads is for a great part also an outcome of the same desire. If the structure 
of the material, as well as the technique require the introduction of numerous details, 
a growing desire for colour harmonies is merely the logical consequence. It need 
hardly be said that a tapestry-hanging constructed of numerous details and colours 
changing at will would have an absolutely impossible effect, unless the colours were 
harmoniously blended together in a certain rythmical sequence, if a well considered 
colour harmony did not lend shape to the whole. 

If we try to follow the process of how the effects of light and shade are produced 
in a picture, it is always found that the transition tints belong to the same colours, 
that therefore a red shadow can never be connected with a yellowish-white light, as 
is the case in tapestry. If in the picture a light red merges into red or dark red, the 
tapestry-hanging gives the gradation from ivory white to light red or red; dark red 
is only employed in the very deepest shadow. The scale of colours is systematically 
lightned up. In an entirely clear and logical way the material is considered before 
all else. The same train of thought induces the use of silks, from which the light 
radiates in a soft lustre. We never find this delicious material in shaded parts or in 
flesh tints, but certain parts of the tapestry, whose luminous brightness is to be spe- 
cially accentuated, the sky, the embroideries and patterns of the dresses are entirely 
worked in silks. Of course the lights can also be produced in wool but the peculiar 
effect of silk in only attained in a few cases. The only advantage which woofs manu- 
factured entirely from wool do possess is the uniformity of the material; an advantage 
which does not banish the danger of monotony. 

The scale of colour for red (red-white), blue (blue-white), brown (brown-yellow- 
white), yellow (yellow-white) became a standing rule in the Netherlands, so that 
further particulars are completely missing in the contracts of the period, which are in 
general most explicit as to details. The fact also explains the treatment of the car- 
toon. Experienced pattern-painters lay great stress on the clearness and exactitude of 
the design, but are quite content with superficial colour sketches; for the most part 
written indications were enough, from which the weaver could gather if a garment 
was to be worked in yellow and the superimposed brocade pattern in green etc 
The choice of lights seems to have been less clear. Why are the Paris woofs of the 
17 century so often worked from red to yellow and the Flemish-Brabant woofs 
with preference from red to white? WVhy does Brussels possess a comparatively rich 
pallet and why does Oudenarde use little else than green, yellow, blue, brown and 
perhaps red? The question in answered by the special condition of the dyer’s techni- 
que in each town. 

The reproach has frequently been uttered against Oudry that he had fought against 
the old scale of colour in gross misconception of the essence of tapestry-weaving, 
thereby degrading the independent artist to the miserable state of a copyist. The 


21 


Comptletaon 





attack is not unjust. Still one must consider, that the endeavour to produce pure 
picture-effects in tapestry-hangings is a very ancient one. Already in the first part of 
the 17™ century the painter tries to enforce the peculiar appearance of the easel pic- 
ture upon the tapestry-hanging. The basse-lisse worker of Brussels at first stood 
rather hélplessly before the pattern-picture painted in oils, which did away with all 
clearness of outline and colour. In a relatively short while however the tapestry- 
weaver seems to have got accustomed to the new manner. He still makes use as 
formerly of his scale of colours and tries for the rest to adapt himself to the require- 
ments of the oil-painting by putting in a few daubs of colour in the shape of stripes 
laid next each other in mosaic fashion. The attacks of the painters cannot be silenced, 
their demands are effectively encouraged by the rapid developement of the dyer’s art. 
The usual reply, that it was an entire impossibility to copy a painting, as the countless 
wool and silk hues were wanting, can no longer be given. Oudry takes the conse- 
quence; he tries to definitely translate the old ideal into reality, without remembering 
that the practical experiences made with the soft gradations of tints are still of a most 
problematic nature, that dyed wools and silks bring forth far different effects than 
the colours on a pallet, and without considering that the clearly designed cartoon is 
the alpha and omega of all weavers art. QOudry’s challenge unchained a storm of 
indignation in professional circles. The weavers, not without reason, accused their 
“Surinspecteur” of the 'grossest want of practical knowledge, their refusal led to an 
obstinate combat in which Oudry only remained victor to a certain extent. How much 
the conduct of the painter mraged the weavers is perhaps shown most characteristi- 
cally in the funeral oration of the “premier supérieur”, the technical director, who 
spoke as highly as he could of the merits of the deceased; he had been a shining 
light in the art of painting, with the best intentions in the world, but unfortunately 
one could not say the same of him where the art of weaving was concerned. The 
event proved the tapestry-weavers to have been in the right. The picture-tapestries 
which wove soft and free tints together in imitation of pure easel pictures have faded; 
the red, blue, green, yellow and white colours have on the whole retained their old 
lustre. The violet, pink and greenish ones and especially the delicate shades of the 
flesh-tints have turned to a dull grey. Little enough remains of the soft delicacy, 
which for a short while distinguished the tapestry-hangings. 

By giving-up the technique of hatching and by the adoption of the mosaic manner 
the decadence of picture tapestry weaving was definitely settled. The late develop- 
ment essentially belongs to the Paris State manufactories. Details would lead us 
too far. 


22 


The Interpretation of the Tapestry-Hanging. 


The early times till the end of the 15" century. 


The tapestries dating from the time of the dukes of Burgundy of the House of 
Valois may be suitably divided into seven large divisions; in: 

Tapestry-Hangings which 

Ia. reproduce early heroic songs; 
Ib. illustrate contemporary, generally prose, novels; 
II. depict events from Antiquity; 

IH. show contemporary occurrences; 

IV. give pictures and scenes from religious literature; 

V. reflect the life of the times and the customs and manners of the court; 

VI. translate fables and satires into the weavers art; 

VI. delineate coats of arms and other such tokens of prerogacy. 

This most interesting theme has been thoroughly treated in the large German edition. 
Sources of information are the old inventories, the contemporaneous literature and 
the few tapestry-hangings of the early times, which have been handed down to us. 
The limited space at my disposal compels me to confine my deductions to a few 
examples. 

Tapestry-hangings relating to the Carlovingian legendary tradition are comparatively 
frequent. The vague apellation ,istoire du roy Charlemaine (Charlemainet)”, says little, 
a document of 23. X. 1387 is more explicit. The Paris merchant Jehan Lubin supplied 
his customer with a history of Charlemagne „comme il ala en Jyerusalem et conquesta 
grant quantité de pais”. The series brings episodes from the somewhat indelicate 
fiction of the supposed journey of Charlemagne to Jerusalem and Constantinople, which 
originated in the first third of the 12 century, being borrowed from a Latin „Iter 
Jerosolmitanum” of Pseudo-Turpin and serving, amongst others, as a guide to the 
Charles window in the cathedral of Chartres (about 1200). 

A rhymed history of the 12™ century, or a later prose rendermg was used for the 
series of „Guy de Bourgoigne” 1387. (Sold by Dourdin in 1387), which depicts the 
coronation of the young hero, a nephew of the ageing emperor and his feats in Spain, 
where he fought against the Saracens. Another Dourdin series, the Girart, takes its 
subject from Girart de Viane by Bertrans di Bair sor Aube. The action shows events 
which partly belong to the cycle of Charlemagne and partly to the Geste de Garm 
de Montglane. 

The romance of André de Chauvigny — ,la Chronique de la Gogue” which des- 
cribes the hero’s combat against the infidels and his love affair with the Lady Gloriande, 
the niece of Saladin, is a somewhat wild and belated descendant of the poetry of 
the crusades. Fragments of a tapestry-hanging — in possession of Mr. Chaumerau at 
Bourges, during the eighties of the past century — shows an amusing representation 
of Gloriande lying in bed; two female servants are washing the new-born baby, the 
fruit of her sinful amours with Chauvigny. The Baby, white-skinned an blue- 
eyed, by the side of the equally naked and almost black girl, the legitimate daughter 


23 


Int en PRO ea on 





of Gloriande and her husband, the lord of Damascus, splashes about in the wooden 
bath-tub. | 

Before the doors of the heathen town stands the armed Christian knight, to whom 
a spy communicates the impending terrible fate of his mistress. In the foreground 
the masts of the crusading vessels arise. To the left a powerful bombard is drawn 
up for the bombardment of the heathen town. The scroll bearing the legend is only 
partially preserved. The tapestry carries the arms of Guy Ill. de Chauvigny (7 1482). 

The inventories of the burgundian textile hangings, followmg upon each other in 
chronological order, show to sufficiency, that the predilection for the old, or remodelled 
«Chansons de geste” was already on the wane in the time of Philip the Kind. The 
subjects from ancient history remained in favor for a comparatively longer period. 
In point of fact they were nothing but medieval heroic poems dressed up in foreign 
garb. With the views and ideals of the Greeks and Romans these poems have little 
or no connection. All events are seen through the glamour of knighthood, of feudal 
and courtly prejudice; in the later times they often serve for the glorification of 
reigning princes, who recognize in some person of Antiquity their own ideal, which 
they strive to atta to. 

The best known chansons founded on ancient traditions are the „Romans d’Alexandre” 
and „Troie la grande”. The inventory of the burgundian house of 1467 refers to no 
less than 17 manuscripts relating to the story of Troy. Countless tapestry series 
originated at Arras, Paris, Tournai and Brussels in connection with these groups of 
legends. WVe will refer only to the most distinguished among the picture tapestries, 
which have come down to us, to the two magnificent Alexander Tapestries in the 
Palazzo Doria at Rome (pl. 20), the Alexander tapestry of the Aynard collections and 
the different fragments with pictures of the Trojan war (pl. 220; 221). 

The hero Hercules plays a most important part, his story is brought into the most 
intimate connection with the history of the reigning house; he is the ancestor of the 
dukes of Burgundy. According to the description given by Olivier de la Marche in 
the first volume of his „M&moires” the hero passed through Burgundy on his way to 
Spain. He fell in love with the beauteous Lady Alise. Their son founded the House 
of Burgundy. The tapestry-hanging with scenes from the story of Hercules in the 
Musées Royaux du Cinquantenaire in Brussels (pl. 224) is referable to the same circle. 
The deeds of Hercules remained universally popular, even after the extinction of the 
princely house of Burgundy. 

In 1393 Philip the Brave gave orders to the Paris merchant Pierre Beaumetz for 
the series „Jason a la conquéte de la Toison d’or” which for a long time was thought 
very highly of, and whose glory was only obscured by the Tournai „Histoire de 
Gédéon ou de la Thoison d’or” of the year 1449. The subjects of the latter work 
which Robert Dary and Jehan de lOrtie produced for the duke after the designs 
of Bauduin de Bailleul, were probably taken from the poem of the „Songe de la 
Toison d’or” by Michault Taillevent. 

The enormous Jason literature of the second half of the 15 century, in the 
first place the „Istoire de Jason extraicte de plusieurs livres”, written about 1454 by 
Raoul Lefévre, confirmed the predilection for the now generally accepted group of 
knights centred round Jason. The outcome of this literature being to a certain extent 
the embodiment and condensation of the most essential early Christian and antique 
legends in the so-called Nine Heroes. Hardly any other series of tapestry-hangings 
has been so continually repeated as this of the nine heroes, to whom later on the 
nine heroines were opposed as companion picture. The main idea, the crystallization 
of the heros’ of heathen, jewish and Christian antiquity in separate individualities 
is probably as old as the 13 century, most likely it is an offsprmg or a parallel of 
the well known twelve Peers of Charlemagne. This idea, which still serves as a 
guiding thread for the rich woofs of the 17 century was gradually developed in 
connection with the literature of the 15 century. As a rule the heroes are: Joshua, 


24 


meee rp? eb ag tb on 





David and Judas the Maccabee from the jewish legend, Hector, Alexander and Caesar 
from heathen tradition, Arthur, Charlemagne and Godfrey of Bouillon from Christian 
history. Each hero carries a certain coat of arms, David the harp, Hector the lion, 
sitting on his haunches and holding a halberd in his paws, Caesar the double headed 
imperial eagle, Arthur three golden coronets and so on. The name written near the 
figure or the explanatory legend makes the picture easier to interpret. The scutcheons 
occasionally vary. 

The „Histoire ancienne jusqu’a César” laid the foundation for the circle of Roman 
legends. This history received its classical French form about the year 1225 and 
appeared about 25 years later in the „Fait des Romains, compilés ensemble de Salluste, 
Suétone, et Lucain” as a courtly and chivalrous poem. About the year 1446 Jehan 
le Bégue translated the book” De primo bello punico” by Leonardo Bruni of Arezzo, 
which found a fortunate counterpart in Jean Mansels „Histoires romaines contenant 
neuf livres de la premiére décade de Tite-Live” (1454). Particularly the latter work 
rejoiced in an extraordinary popularity. A copy illuminated by Loyset Liédet of 
Hesdin by order of Philip the Kind has been preserved in the Paris Library of the 
Arsenal. It served mainly as a key to the well-known Caesar tapestry of the Historical 
Museum at Berne. A splendid tapestry of the second half of the 15 century. in the 
La Seo cathedral of Saragossa depicts the sea-voyage of the Trojan Brutus (pl. 225). 
The story of the hero, „qui commencha a habiter et 4 peupler le royalme d’Engle- 
terre”, was enacted at Arras on the 16 of March 1469 for the entrance festivals of 
the Count of Charolais. A French translation of the „Historia regum Britanniae” which 
Galfrid of Monmouth had written for Robert of Gloucester served as a model, for 
the pantomimic representation as well as for the tapestry-hanging. 

Besides tapestry-hangings, which make use of romances from chivalry and subjects 
from ancient history, we find tapestries in plenty which render contemporary events. 

A special part is played by the French national hero, Bertrand du Guesclin, whose 
life and deeds are related some six to seven times in large series of tapestry-bangings. 
In 1386 Pierre de Beaumetz supplied the Duke of Burgundy with the complete series 
of du Guesclin. 

The „contemporaneous” tapestries may have modelled their representations in 
accordance with „Chansons”, such as the poem which tells of the renowned battle 
of the „Thirty” near Ploermel in the year 1351, but mostly they will have been done 
after the descriptions of eye-witnesses. Tournaments form a popular theme of these 
representations. The most well-known tapestries of this kind depict the joust of 
Saint-Inglevert near Boulogne, which took place in March and April of the year 1390, 
by invitation of the brave Jehan Malingre, sieur de Boucicault and which brought 
the flower of French and English knighthood upon the plane. Another popular theme 
was the tournament of Saint-Denis, to which the immediate impulse had been given 
by the knighting of Louis of Anjou and of Charles of Orléans. 

The series of the siege of Liége —, five tapestry-hangings richly wrought in gold 
of Cyprus, silver and silks —, shows the bitter combats in which John the Fearless 
was involved: as ally of his brother-in-law, the hard-pressed John of Bavaria, bishop 
of Liége. The first tapestry of this series depicts the marching in of the burgundian 
army, the second the departure of the Liége army before Maastricht. The third 
tapestry gives the decisive battle, the fourth the leaders of the towns of Liége, Tongres, 
Huy and Dinant in vain and humiliating supplication, the fifth shows the public 
announcement of the merciless punishments, which were executed in the market- 
place of Liége. The guide for these representations was given, besides the merely 
matter-of-fact reports, by a poem of the year 1408 which has an unkown and quite 
talentless author to thank for its existence. 

The gigantic tapestry-hangings of the battle of Roosebake (1382) — the representation 
of the terrible defeat of Philip of Arteveldes troops — are very similar in their manner 
of design to the series of Formigny. 


25 


LOC Top Te Cra oe 








In the castles of the French and Burgundian nobility the religious tapestries as a 
rule confine themselves to the Passion of the Saviour and to the Life of the Virgin. 
Occasionally incidents taken from the Old Testament, are also to be met with. 
Tapestry-hangings with subjects of a classical tendency are seen far more often. 
We find the story of Moses in the castle of Amboise (1483) the deeds of Alexander, 
a series „nomme Théreux (Theseus)” and a tapestry-hanging „de saincte Susanne” in 
the castle of Angouléme (1496) the ,istoire de testeus (Theseus) a grans escripteaulx”, 
the history of „Anthiocus”, the deeds of Judas Maccabeus, a Credo series, and a small 
tapestry „oü sont les évangélistes, nostre seigneur au mylieu” in the castle of Chambéry 
(1498). 

The overweening majority of the Saint’s series can in the main be explained by the 
Legenda aurea of the Genovese bishop Jacopo da Voragine. Only im rare cases, 
where little known patron saints had to be depicted, recourse must have been taken 
to a local ,Lectionarium”. 

A fragment in the cathedral at Bourges depicts most dramatically „La translation 
de Mons. Sct. Estienne”, the bringing over of the relics of the first Christian Martyr 
to Constantinople. The boat scene takes place by the coast of Calcedo: „Comet la 
nef sait Eteve fit ecal pres Calecide plvsievrs malade fvrent gueris’. The tapestry 
shows the arms of canon Pierre de Grosses, the donor (1466) of the once stately series 
of six tapestry-hangings. 

The sibyls, the heathen prophetesses of the coming of the Lord, are repeatedly 
brought into connection with representations from Bible history. The most important 
source are the writings of Vincent of Beauvais. Series of Sibyls are found often 
enough in the inventories of the second half of the 15% century. In the following 
centuries the subject became exceedingly popular by the printing of the „Heures de 
Simon Vostre 4 Pusage du diocése de Chartres” and of the „Mystöres du Viel Testament”, 
whose popular wood-cuts introduced the ten, or as the case might be twelve, sibyls 
to the knowledge of the general public. A short while ago the fragment of a sibyl- 
series (pl. 53) originating from the year 1545, came into the Berlin Market. Cor- 
responding to the Hero-tapestries it represents each sibyl singly under a canopy, 
holding her specific attribute in one hand; over her head appears a scroll with an 
explanatory French text, which gives the prophecy of the said sibyl and her age at 
the time of uttering it. Details as to the origin of this singular subject lead too far. 

Incidents from the lives of the sibyls are found comparatively often in tapestries 
of the early 16 century. The characteristic episode of the Tiburtine sibyl — from 
the hight of the Capitol the emperor Augustus sees the Madonna with the divine 
Infant: “haec est ara coeli” — is amongst others seen in the renowned Morgan-tapestry 
and in the version of the Brussels Musées du Cinquantenaire (pl. 54, 55, 119). 

The series of the “Vengeance of the Saviour”, represented by the two tapestries 
of the Raoul Heilbronner collection and the fragment of the Metropolitan Museum at 
New-York, is designed in a manner differing somewhat from the renderings of the better 
known subjects of the Life of Christ (pl. 242—245). 

The “Vengeance de nostre Seigneur”, as shown in the three tapestries, is in the 
main treated conformably to a Mystery which appeared on May 28‘ 1492 at a Paris 
printers Anthoine Vérard, but they must evidently be traced back to older sources, if 
only for the simple reason, that the tapestries were woven some twenty years earlier. 

The tapestry-hanging mentioned in the inventory of Charles V. (1564) “de la Véroni- 
que et de Vespasien qui fut guéri de sa meslerie” and “Vespasien qui fait metre Pilate 
en la tour de Vienne” are doubtless episodes from an earlier “Vengeance”. 

The plot is shortly this: The Passion of our Lord has been consummated, the Saviour 
is dead. A divine court of justice is held. Veritas and Justitia demand a stern punishment 
of the sinful Jews from God the Father. Meanwhile new followers beging to throng 
round the Lord. Vespasian, the duke of Spain, is healed of his leprosy by the miraculous 
handkerchief of Veronica, which shows the imprint of the Saviour’s features (pl. 213). 


26 


ea CO mp Yeh at ton 





The continuation of the legend is depicted in a tapestry-hanging — likewise ori- 
ginating from Tournai — in the Vienna Museum of Art and Industry. The tapestry, 
which may have been woven about 1460, informs us how the emperor Tiberius, 
hearmg of the miraculous cure of Vespasian, sends out his messengers and begs Pilate, 
to induce the Saviour, to come to Rome. Pilate receives the ambassadors (pl. 215). 
Tiberius hears of the death of the Saviour, he calls the culprit before his seat of 
justice. Pilate protects himself against the emperor’s wrath by the miracle working 
garment of Christ, which he wears beneath his own clothes. The deceit is found out 
and Pilate is imprisoned. The devil persuades him to commit suicide, the erring soul 
goes down to hell. 

Several episodes from the reign of Claudius and Nero now follow in the “Ven- 
geance”. The Jews, furious at the imperial command, to put up the statue of Nero 
in the temple of Solomon, for the adoration of the people, make an insurrection. 
Jerusalem is besieged by Vespasian and Titus. Horrible scenes ensue, which follow 
pretty closely the Coquillart translation (between 1460 and 1463) of the “De bello 
iudaico libri VII” of Flavius Josephus. 

The famine drives the besieged inhabitants to despair; a woman devours her own 
child (pl. 214). The town falls, pillage and murder begin to do their terrible work. 

The jewish leaders swallow gold and jewels so as to save their treasures. The 
Romans slit open the prisoners bellies and take the precious booty from their entrails 
(pl. 212). 

In accordance with the general tendency of the time all differences of opinion turn 
on the question of that most precious object of all fighting: VWWoman. Contrary to the 
neighbouring countries, troubadour service was attended to most earnestly and devotedly 
in the states of Philip the Brave and his successor. The Romance of the Rose by 
Guillaume de Lorris is the model for all lovers of high degree. The noble lover 
rather fancied himself in the röle of a youthful minstrel, who dreaming in Love’s 
Garden has visions of wondrous things. 

A fortunate chance has preserved two fragments of the Rose-series in the Metropolitan- 
museum at New-York. The lover appears in conversation with various Virtues and 
Vices, impersonated by men and women. A similar episode (the lover is seen in con- 
ference with “Raison” and “Bel-Accueil”) is depicted in the Louvre fragment. The 
background has been “limogé”. On stripes of different hues, magnificent rose 
trees display their branches. 

The most vivid conception of court-life during the second half of the 14 century 
can be gleaned from the well-known „Minneteppich” of the German National 
Museum at Nurnberg (pl. 59). It would lead too far to give an account of the games 
depicted in the Nurnberg Tapestry. The scene to the right at the bottom shows a 
love-court; the nobles who have sinned against the laws of the mighty Lady, are doing 
penance for their misdeed in a pair of stocks. The game of question and answer 
follows next, then a somewhat rude amusement known under several names; a gentle- 
man and a lady try to upset each other by a push with the sole of their shoe. The 
top picture shows a game, that was already in vogue during the 13™ and 14" cen- 
tury and became extremely popular in the 15 century as “jeu du capifol”. It is 
known to the youth of the present day under a less poetic name (pl. 235). 

Other tapestry representations must be referred to poems yet unknown to us, as 
for instance the tapestry-hanging from Tournai, in possession of the Count of Valencia 
(pl. 207). A lady and a gentleman are standing before a tent, angels hold the canopy. 
The lady sprinkles flowers in full bloom with water. Probably the scene had some 
connection with the troubadour habit, which requires a love-couple to plant together 
a violet or a bush of marjoram, to look after it with care to sprinkle it with a hopeful 
heart, until the lady at last is enabled to pluck a bud ora branch from the flowering mass 
and to give it to her patient lover, as a sign that the fulfilment of his desires is near: 
“Réveiller les marjolaines”. That this subject was thought worthy of being reproduced 


27 


TM (kes Tap Te CREO 





even in such a rich series of tapestry-hangings, is proved by a series in the possession 
of Margaret of Burgundy: “Item, I grant drap vert de haulteliche 4 une fontaine et 
une demoiselle qui plante un pot de margolaine”. 

The tapestries representing incidents of the chase form a large group, they remained 
extremely popular from the earliest times to the extinction of tapestry. : 

The inventories as a rule give only very few details, they restrict themselves to in- 
dications of a general character: “A chasse et volerie” or “ung tappiz de chambre, de 
gros file sur champ vert herbu, 4 ung chevalier, une dame, ung faucon sur une perche” 
does not tell us much. Comparatively many hunting-tapestries have come down to 
us. Among the first to be named are the Tournai tapestries in the possession of the 
Duke of Devonshire at Hardwicke Hall, they show in four gigantic hangings the 
various modes of hunting; the chasing of the wild boar, of roe and bears, the hawking 
of ducks and swans, the chasing of herons and eagles, is depicted in scenes richly re- 
splendent in colour (pl. 202, 203). The fragment in the museum at Minneapolis is 
closely connected with the Hardwicke Hall series (pl. 204). Several tapestry-hangings 
in the town-hall of Ratisbon as well as the fragment in the church of Notre-Dame at 
Nantilly move in the same circle of ideas. 

French sporting literature takes up a large space in the libraries of the Burgundian 
dukes. New ideas are in the main only to be found im it as far as regards the sports 
of the chase. The countless books of falconry can be mostly referred to oriental or 
south italian sources. The turbaned huntsmen in one of the Hardwicke Hall tapestries 
are probably to be traced back to some similar reminiscences, possibly also there may 
have been a few Orientals among the hunting followers of the prince, to whom the 
tapestry-series owes its origin. The splendid series in the main followed the guidance of 
the “Livre de chasse”. How far the literature of falconry, such as “Ghatrif and 
Moamin” or the still better known book on falconry of the emperor Frederic II. “de 
arte venandi cum avibus” were consulted, is hardly to be ascertained. The author of 
the “Livre de chasse” is no less a personage than Gaston Phoebus of Navarra, Count 
of Foix and Lord of Béarn, one of the most noteworthy personalities of the 15% century. 

The work of Gaston — brought forth between 1387 and 1391 — is naturally not 
an entirely original production, he very largery draws from the Roi Modus and the 
„Deduit des chiens et des oiseaux”, written by the erudite chaplain of John II of 
France, Gace de la Bigne (Buigne), in the Tower of London. A general characteristic 
of all these books is a strong tendency to moralise, which tries to mix up even the 
most wordly matters of human life with doctrines of faith, covermg up the passion 
for play and hunting with a mystical cloak and devoutly presenting it with a pass- 
port to eternal felicity, inasmuch as the huntsman did not indeed sin through that 
worse of all misdeeds, idleness. 

‚The hunting literature of the 15% century, in its peculiar amalgamation of moral- 
ising trains of thought with purely practical considerations does not remain without 
influence on the sphere of picture- weaving. A tapestry in possession of the duke 
of Arenberg depicting the contest between King Modus and the Lady Ratio, shows 
most clearly how the distinguished society of those times conceived the deciding of 
any question on matters of hunting and morality. The action of the figures illustrates 
in an allegorically modified form the award of John II, count of Tancarville (7 1382), 
the most elegant huntsman of his time, who after lenghty negotiations, definitely ends 
the old quarrel between the dog and the falcon by a diplomatic answer. The sen- 
tence says, intelligently and amiably, that the falcon is indeed the nobler of the two, 
but that the pleasure afforded to the huntsman by the dog is of longer duration and 
of greater use. 

The poem of Gace is introduced by a procession of the Virtues and Vices, „Honneur” 
leading the train. In a manner similar to the representation of the four temperaments, 
the Virtues and the Vices are given certain symbols and characteristic tokens. We 
discern the three theological virtues, Faith, Hope and Charity, and the four cardinal 


28 


Inte Pile IE UE ERD 








virtues, Fortitude, Justice, Temperance and Prudence. The source of this rendering 
is the Psychomachy of Prudentius. This allegorical epic poem, dating from the year 400 
after Christ personnified the good and the evil powers, wrestling with each other in 
bitter combat for the soul of the pilgrim on the earth. The adversaries appear on 
foot and on horseback — Superbia, for instance — or in splendid chariots, accom- 
panied by numerous followers, like Luxuria. The „Anticlaudianus” of Alain de Lille, 
the „De conflictu vitiorum et virtutum”, said to be by Gregory the Great, and the 
«Hortus deliciarum” by Herrad of Landsberg take up the Same train of thought. In 
Huon de Mery’s „Tournoiement de | Antichrist” (about 1255) the Saviour appears as 
warrior and leader in all good cause. It seems as if the first impulse to this peculiar 
and sometimes even grotesque equipment of Virtues and Vices, which is the chief guide 
to our tapestries had been given by some speculatively minded priest and was further 
developed in Germany. The French version is far more temperate. 

The natural idea of letting the Virtues and Vices meet in a tournament for the sake 
of fighting out their quarrel, was only accepted in France in comparatively late times. 
A Latin manuscript, in the possession of the library of the chapter-house of Vorau 
in Styria, is of great importance. „Lumen animae, tractatus de septem vitiis es vir- 
tutibus“ was written by „Gotfridus canonicus et confrater noster ecclesie nostre Voro- 
wensie...” in the year of grace 1332. The chief value of this work rests in the fact 
that our canon illustrated the Virtues and Vices, whose dreadful combats he describes 
by clever brown ink sketches. WVe see the allegorical figures as heavily armed 
knights on the backs of symbolical animals. The attack is opened by the Virtues 
who assail the Vices with couched tilting-lances, while the Vices guard themselves 
behind their emblazoned shields. 

The book of master Godfrey of Vorau served indirectly as a guiding-thread to 
more than one series. A German hanging in the town-hall at Ratisbon depicts the 
combat of the Virtues and the Vices in evident reference to our manuscript (pl. 60). 

In 1509 Nicolas de la Chesnaye wrote a lengthy treatise about the value of several 
species of foods. At the end he adds, according to the custom of the time a morality 
„La condamnation des banquetz” which contains no less than 3650 verses. The idea 
of this didactic poem, which intends to denounce a too luxurious way of living is 
about this: Gourmandise (gluttony) and Passetemps (Pastime) spend day and night in 
revels with their bosom friends. Banquet, Dinner and Supper join with Apoplexy. 
Epilepsy and the rest of the feaster’s diseases, to bring the thoughtless company to 
fall. Gourmandise, Passetemps, „Je bois 4 vous” (toasting) „Je pleige d’ autant” (pled- 
ging) „Bonne Compagnie” (jolly companions) and their good friends appear as guests 
of Dinner. A splendid repast is set on the table. The diseases peep in slily at the hall- 
windows, but just then nothing happens. 

The feast at Supper’s is more riotous, the diseases in the disguises of ugly old 
women fall upon the carousing guests and play all sorts of evil tricks upon them. 
In spite of this Gourmandise, Friandise, Passetemps and their friends accept the invi- 
tation of Banquet. The diseases, armed with weapons of destruction, throw them- 
selves upon the thoughtless company. Gourmandise, Friandise, Je-bois-a vous 
and Je-pleige-d’ autant are killed by apoplexy and her followers. Bonne Com- 
pagnie, Passetemps and Accoustumance are still able to escape. They take refuge 
with Dame Experience and complain of the evil treatment they have met with. The 
Lady sends her messengers to seize Banquet with his faithless crew. The culprits 
appear before Dame Experience’s judgement seat. Banquet is condemmned to be 
hanged, Supper is more mildly treated; leaden bracelets are for the future to spoil 
his pleasure in drinking The whole story is enacted according to the rules of court 
etiquette. The tapestry-hanging from the series of the „Condamnation de 
banquet et de souper”, still preserved in the museum at Nancy, depicts the single 
incidents entirely after the manner of a Chanson de geste. The allegorical personages 
appear richly clad in the costumes fashionable at the time; the furniture of the rooms 


29 


D140. TED Ve Uae ie Onn 





is that of a distinguished and noble residence. It is only the explanatory rhymes and 
the names, added to the different persons, which enlighten us as to the subject. For 
the rest the work of master Nicolas is not original; a poem of the second third of 
the 15% century probably served him as a model. 

If we sum up in short words the result of our investigations it will be seen clearly 
and unequivocally, that the main feature, appertaining in a general and typical way 
to all tapestry hangings of the 14‘ and 15‘ century, is a sharply defined sense of 
aristocratic superiority, which repels all intercourse with the broad mass of the people. 
With few exceptions, only such subjects are depicted, which could be brought into 
harmony with courtly and chivalrous principles. The legends of the Saints are chosen 
with the sames views. Churches and convents make an exception as far as the 
glorification of their patron saint or their founder came into question. But also in this 
case the person to be celebrated appears as a wealthy bishop in full pontificals or 
as a secular priest of high degree. 

The allegorical - didactic series are worked in accordance to the same notion. There 
is an unmistakable tendency to veil even the most common-place fact under a myste- 
rious covering, to ostentatiously display a learning, which would be intelligible to the 
book -loving Grandees of the court and to the clerical authors but not to the misera 
plebs. How careless even people belonging to Court -society were with regard 
to the rich series of tapestry-hangings is shown by the inventories in which we 
often miss a clear comprehension of the subject described. 


The 16% century 


Tapestry - weaving for a long while offered the strongest resistance to the influx 
of pagan antiquity, which was then beginning to penetrate everywhere — in that 
form, be it understood, in which the Italian Renaissance conceived it, not as the time 
of Philip the Kind had regarded it. 

Tapestry - weaving in the 46*% century remained as before a purely courtly pro- 
duction, for the most part holding itself aloof from the great questions which excited 
the masses. The subjects, wether they be of a secular or religious nature all tend to 
one goal, the glorification of the Lord of the Heavens and of the secular prince, the 
spreading of his fame far and wide. 

Naturally the fertile imagination of the men of letters, who considered the praise 
of their princely bread-giver as their most important task, did not remain without 
influence on the tapestry-picture. 

One of the most prolific authors of this kind was Jean Lemaire de Belges, whose 
works repeatedly served as a direct guide to the weavers of tapestry - hangings. 
This well-known humanist was born about 1470 at Bavai near Valenciennes; he 
studied in Paris and at first worked for duke Peter If. of Bourbon and for Louis of 
Luxembourg, the count of Ligny. After the death of his patrons (1503) he entered 
the service of the viceregent Margaret of Austria, who (4507) made him her librarian 
and historiographer. In April 1542 Lemaire was busy for Louis XII. of France, after 
1515 his trace is lost. In the cathedral of Beauvais there is an almost entire series in 
which are depicted the legendary sovereigns of France. Jean Lemaire’s „Ilustrations de 
Gaule er singularitez de Troyes” served as basis for these designs. The idea rapidly 
gained in popularity, ambition spurned the colleagues of the Henneg1u author. Neither 
did the northern countries remain in the background. In the year 1570 the Swedish 
king Erik IV, fond of ostentation as he was, had the whole line of his legendary ancestors 
worked on the loom in gold, in silver and silks. The series was carried out in the picture- 
weaver’s studio at Stockholm, which stood under the direction of the capable Fleming 
Paul de Bucher. The „Historia de omnibus Gothorum Suenumque regibus”, which had 


30) 


imi emp re att an 








been printed at Rome in 1554 served as the guiding-thread, tracing back the line of 
ancestors to the days of the flood as Lemaire had done in his book. The author was 
Johannes Magni, the last roman catholic bishop of Sweden. 

The fame of Erik IV. enticed Frederic II. of Denmark to a similar undertaking. In 
1581 the Antwerp weaver Hans Knieper began a great series of tapestry -hangings 
which depict a row of legendary and historical Danish sovereigns, beginning with 
Canute IV. and ending with the royal patron. 

A somewhat similar series in the Palazzo Doria at Genoa roused the admiration of 
the president Charles de Brosses. In his „confidential letters from Italy” he wrote in 
1739 „The best thing in the Doria Palace are the tapestry-hangings with the portraits 
of this illustrious family, besides another tapestry-hanging, after a design of Giulio 
Romano, whose value is reckoned at 110000 Livres”. 

The last series of eight tapestry-hangings, showing the princes and princesses of the 
house of Nassau, were designed on the same principles. The sketches still extant, of 
which three are in Munich, one in the museum at Rennes, show each a gentleman 
and a lady of the ancient race on horseback and turned towards each other. 

Sometimes, where chases, campaigns and such things were depicted, princes are 
introduced among the personages portrayed in the pictures. The „chases of Maximilian”, 
in the Louvre museum at Paris, were worked about 1530 by order of a person closely 
connected with Charles V. The month of december is dedicated to the hunting of the 
wild boar, Maximilian — the characteristic profile is not to be mistaken — appears on 
horse-back, holding the sword-like hogs bristle in his hand (pl. 70). 

The design, originating from the Orley master studio, is not new, so far as regards 
the main idea. A similar series is already found in the inventory of Philip the Kind; 
the duke and his wife are out hunting with their falcons. The chase of Maximilian 
corresponds in still one other particular with the circle of ideas predominating in the 
15" century; the last tapestry shows the homage rendered by the hunters to Modus 
and Ratio (pl. 71). 

Owing to the limited space at my disposal, no account can be given here of the 
portraits of distinguished personalities in the campaign series — the emperor Char- 
les V. in the Tunis series, Francis I. at the battle of Pavia and so on. The endeavour 
of the Renaissance to bring the fame of great men down to posterity found a far 
more drastic vent in that peculiar species of tapestry-hangings called Triumphs. 

Petrarch’s writings became of greater importance to applied art, inespecially to our 
particular province, of tapestry-hanging. His „Trionfi” are the key to innumerable 
series, as late as the 17‘* century the scheme of representation set down by him 
remained typical. In accordance with the slow-moving character of the weaver’s art 
a motive is chosen, which had less weight in the poem, the moral-allegorical side of 
the Trionfi, the victory of the Eternal over the transitory life of the earth. Of the 
true spirit of antiquity, flowing through Petrarch’s poetry and gaining the upper hand 
there, in spite of all religious allusions and comparisons, little is noticeable in the 
tapestry-series. Chastity conquers Love, Death conquers Chastity, Time conquers Death 
and Fame mocks at Time, all fame begins and ends in the holy Trinity. The me- 
dieval notion of the „Vanitas Vanitatum” runs all through the 16‘ century in the 
costume of antiquity. The method of composition is new; the triumphal procession 
of ancient Rome becomes prominent. The personality, whose glorification is inten- 
ded, is enthroned on the ,carro trionfale”, drawn by allegorical animals; on both 
sides march his adherents, while his adversaries expire, crushed beneath his chariot- 
wheels. To men of letters this scheme affords most excellent opportunity of osten- 
tatiously displaying their learning and to exhibit an almost inexhaustible knowledge of 
mythological persons — it being of no consequence, wether these are of Jewish, Roman 
or Greek extraction. 

The six tapestries, in possession of the Austrian state, belong to one of the most 
characteristic series. The connection with Petrarch is unmistakable. In the first Triumph 


31 


Wen be np Te Mateo en 





Cupid is enthroned on a chariot drawn by two Sirens, a pair of doves and two 
goatbucks (pl. 72). Though the Siren motive — the emblem of the lusts of the flesh — 
is traceable to early sources, the burning torch planted in front of the Love- 
God — the sign of Life — is antique. „Volupte”, voluptiousness, pours sweet-scen- 
ted oil from an anointing vessel. „Oysivite” idleness, pushes the hind-wheel. Both 
figures to not seldom appear in the moralities of the 15 and 15‘ century. They 
play a principle part in the combat for the human soul, and are often to be met 
with in tapestry-hangings of a purely didactic nature. Urania with her lyre precedes 
the train. Pyramus and Thisbe, Herodias, Solomon, Jason, Hercules, Paris and Helena 
he writhing underneath the wheels. 

The second tapestry-hanging, containing the triumph of Chastity, shows the same 
strange mixture of northern-christian-allegorical motives with modern pagan ideas. 
Old and new symbols are whirled about at will. 

A vestal virgin with a palm leaf and burning candle leads the train, behind her 
marches Hippolytus. Cupid is crushed beneath the chariot, drawn by two doves and 
two unicorns. Bare-footed ”Chastete” clothed in a nun’s dress, as the Bride of God, 
holds a palm-leaf in her right hand; the left hand clings to the column. Abstinence 
and Temperance push the triumphal cart forward. Claudia, Lucretia, Hippo and Deipyle 
accompany the chariot. 

The Triumph of Death over Chastity (pl. 73) is to a great extent influenced by an- 
tique ideas. The richly clad Parcae are enthroned on a chariot, drawn by oxen. 
Pandora with the ill-fated box, marches on in front. Vieillesse turns the front wheel, 
which goes over Chastity and her broken colum. „Innocence” a physician, holds a 
urinal upright in his left hand. This last figure is difficult to interpret. The urinal, 
taken in a symbolic sense, plays an essential part in the contemporaneous didactic 
poetry. The physician was evidently made to represent an allegorical personage, 
similar to the one we find in the morality ,Christienté qui était malade” which was 
printed at Neuchatel in 1533. The Dominican monk Matthieu Malingre, having been 
converted to protestantism, describes to us how „Inspiration” presents the urme of 
suffermg Christianity in a urinal to the physician who symbolizes the Saviour. After 
a long-winded allegorical analysis, the physician (Christ) recommends Faith according 
to the holy gospel as the only remedy. „Innocence” therefore does not allude to the 
person dressed as physician, but defines the allegorical result of his analysis, the true 
medicine, which alone offers support and strength in the hour of death. 

«Ihe triumph of Time over Fame” and „the triumph of Eternity over Time” close 
the series of the Vienna tapestry-hangings. Specially the latter woof is not without 
interest (pl. 76). The holy Trinity is enthroned upon the chariot under a formula, 
which is very often met with in the mystery-plays and consequently also in fine and 
applied art. God the Father holds the Son, who is hanging on the cross, the stem 
of the cross rests on the triumphal chariot of Solomons Song, the „quadriga of Ami- 
nadab“. The chariot is drawn by the brute symbols of the evangelists. 

This formula is repeated in a very similar way upon our tapestry-hanging. The 
four Latin fathers of the church, Ambrose, Augustine, Jerome and Gregory appear as 
companions. The ground is strewn with the bodies of the vanquished: 

Cupid, Chasteté, the three Parcae, Renommée and Temps. The Flemish-French 
tradition is most clearly marked in this last piece, Petrarch gave up all idea of a 
programme for the triumph of Eternity; the door stood wide open to erudite 
speculation. 

The most striking contrast to these series which are still completely under the 
influence of the speculative, dogmatic spirit is offered by the triumphal processions 
of Giulio Romano, whose victorious sway began in the second half of the 16 century, 
paving the way for the „true” spirit of antiquity. These are seen in numerous tapestry- 
series. All relation to the old accustomed symbols are anxiously avoided. Romano 
intends to be antique; the costumes in accordance with the general taste of the time, 


32 


meal Cer DIT edt (ast ito (Nn 





the fashion „alla francese” seemed undignified and untrue. It would be mistaken to 
blame the artist for this tendency. Master Giuliano lived under an Italian sun, in a 
country, in which the man of letters was all powerful, in which the ideal conception 
of the designs for a tapestry-series or a cycle of paintings was reputed of equal value 
to the artistic rendering, to say nothing of the weaver’s work. 

«Ihe triumph of Scipio” contains in the so-called „large Scipio”, which Romano 
probably created about 1530 for the Brussels weaver, Marc Cretif, nine tapestry- 
hangings in all. Sacrificial animals and elephants open the procession, the trombone- 
players and the bearers of military attributes march in front of the army, across the 
bridge flanked by antique statues and sphinxes (pl. 78). Riders innumerable pass under 
the Monte Cavallo and by the circus. Then follow the Numidian kings at the head 
of their unhappy people, Roman soldiers drive the prisoners along, brutally ill-treating 
them. The rabble does its utmost in the way of scorn and mockery. The prisoner 
Syphax follows the triumphal car of Scipio, round which flutter four Goddesses of 
Victory. The last tapestry-hanging with the entrance of the victorious army in the 
capitol, — warriors carry rich presents, amongst others a beautifully done architectural 
model, golden vases and ornamental vessels, — may be called the finest piece of the 
series. 

The „large” and the „small” Scipio of Romano did not remain without influence 
on the studios of Flanders and Brabant. They were mainly responsible for the 
systemization of picture-weaving. The intimate charm is beginning to get lost; the 
splendid brocade dresses are held in abhorrence; anachronisms, such as the amal- 
gamation of the antique with the artistic tastes of the time-being, are reckoned, — 
though only for a short while, — among the very worst faults of composition. 

The healthy spirit of the Flemish tapestry-weaver, clearly recognizing, that the 
value of his productions, if only on account of the preciousness of his materials and 
the lengthiness of manufacture, rests in the rich delineation of details, in the sump- 
tuousness and brightness of the garments, the architecture and the backgrounds, 
preserved us from a radical victory of the Romano style. 

A mixed style resulted from this, the continuation of the Orley type in the two 
first decades of the 16 century, which with a happy instinct for form combined the 
Petrarch triumphs „alla francese” with the spirit of the Raphael school ,all’ antica”. 

The Madrid series of the seven deadly sins, once in possession of the vice-regent 
Mary of Hungary, and a triumph series after Petrarch, both still extant in several 
repetitions are typical examples of this kind. 

The „seven deadly sins” have no connection with the old battle of the Virtues and 
the Vices. We see regular triumphal processions, depicted with over-powering pomp 
and with numerous allegorical figures, who had some learned man of letters for their 
godfather, an author who knew Petrarch’s „Trionfi" and who was for the very 
least entirely conversant with the passages from Ovid and Virgil, which came into 
question (pl. 79). 

The Petrarch triumphs in the Madrid State Collections — designed about 1535 by 
a pattern-painter of Brussels — go one step further on in the undoing of the triumphal 
scheme. 

The chariot with its numerous company of followers stipulated a certain exactness 
of rendering, which could not but be irksome to the literary author of the disposition, 
chiefly anxious to display his learning, as well as to the Flemisch pattern-painter, who 
did not know what to do with the dignity and the pomp of a Roman triumphal 
procession. The triumphal cart is removed from the earth and hovers over the action 
in form of a symbol (pl. 80). : 

In 1532 king Francis I. had his „joyeuse entrée”. Before the triumphal chariot of 
Mars there appear, marching together by threes, the nine heroes of the pagan, the 
jewish and the christian world: Hector, Alexander, Caesar, Joshua, David, Judas 
Maccabeus, king Arthur, Charlemagne and Godfrey of Bouillon. 


3 33 


Ln st te XT Sp real a at 40 an 





We may suppose the principal features of the iconography of these heroes to be 
universally known. How closely here also pagan motives have been brought into 
contact with contemporary ideas, is shown by a Brussels hero-series, dating from the 
second half of the 16 century, which came into the Berlin and Munich market a few 
years ago (pl. 82, 83, 84). 

Each „Preux” bears the emblem, which characterizes him on the caparison of his 
richly harnessed horse; sometimes he is accompanied by a banner-bearer. On the 
scabbard of his sword is written in large roman letters the name of the hero, who 
is mostly represented as returning conqueror — not of course as riding in a chariot, but 
according to French and Flemish notions, on horse-back. 

Of the idea of the chariot-triumphs nothing bas remained but the Goddess of Victory, 
floating tin the air, blowing the trombone and holding a laurel wreath over the 
victor’s head. Smaller scenes bring episodes from the life of the hero. 

A further variety of the triumphs, which depicts the hero neither in a chariot, nor 
on horse-back, is represented by a tapestry-hanging in the London Victoria and Albert 
museum. The three Parcae, Clotho, Lachesis and Atropos appear as vanquishers of 
Chastity, whose figure serves them as a foot-stool (pl. 85). The idea cannot be called 
original, it has been taken almost word by word from a drawing in the Arsenal 
hbrary at Paris. 

The transition to the purely didactic series, which give up all idea of the triumph, 
wether in a chariot, on horse-back or on foot, and only bring loosely connected 
incidents before the eye of the spectator, is made by certain tapestry-hangings, which 
made use of a standing scaffolding as principle of construction. 

The arrangement in its simplest form being to represent one of the Virtues or some 
other allegorical Female, in antique dress and bearing emblems of various kinds, 
according to the character of the festival, upon the stage, which is built up in form 
of a throne. At the foot of this throne mythological figures, or figures of the old 
testament explain the idea, which is still further carried out and enhanced by groupes 
of figures. 

This comparatively simple type is amongst others illustrated by a series in possession 
of the Austrian state. It represents an embodiment of the seven Virtues. In each 
tapestry-hanging of the series a young and beautiful woman is enthroned on a richly 
wrought seat. „Fortitude” bears helmet and shield, at her feet lie different sorts of 
arms, among which the big tilting-lance is not missing (pl. 86). The lion guards his 
mistress. On the left, Jaél drives the nail into the head of sleeping Sisera with 
powerful blows (book of Judges 4, 21), on the right, Simson buries his enemies beneath 
the bursting columns of the palace. In the background Judith appears, bearing the 
head of Holofernes. In a similar way the subject is treated in the other tapestries. 
The tapestry-hangings in which the splendid contemporaneous festival stage is depicted 
as background or as chief subject are of far richer appearance. The „eschaffauts” of 
the coronation-festivities and the princely entrance processions are found almost 
unchanged in the Tapestries. 

An engraving, kept in the Paris Cabinet des Estampes and depicting the entrance 
of Henry II. in Lyon, gives a general idea of the character of such festival card-board 
architecture. 

The theatrical construction is seen with great distinctness, in the series of „Los 
Honores” in possession of the Spanish state. The fable is developed before our eyes 
in guise of a morality on a monumental scale. 

The action is introduced by a prologue, spoken by the „author”. The author — 
probably the well-known rhetorician, Jean Lemaire, — gives a short explanation 
of the scenes, which are to impart instruction to the spectator (pl. 50). On a large 
tablet is written, freely translated: Immortality, fame after death and nobility of soul 
is granted to thee by a benign Deity if thou wilt abide by her teaching. ‘Thou art 
independent of the malice of fate, if thou considerest, that noble reason alone governs 


34 


Hime hep Leu alt On 





all things, if thou always keepest thine end before thine eyes, if thou trustest in the 
protection of a stern but just God, all evil lusts will fall from thee, Astrea will lead 
thee on safely with her sisters, the virtues. Beauty will shine over thine earthly 
pilgrimage, noble resolutions will fortify thy intentions, precious rewards and a 
glorious fulfilment of thy desires will be richly meted out to thee. The prologue 
closes with the typical , Vale”. 

The author does not seemingly disguise the source from which he takes his know- 
ledge. The raised right hand points with the pen to a large folio-volume, bearing 
the title „Plato” (pl. 50). 

For the rest Jean Lemaire mostly refers to the Anticlaudianus (42° century) of 
Alain de Lille, with the exception of some motives taken from Virgil, Ovid and 
Petrarch. Prudentia presides over the seven liberal arts, who are building the chariot 
of Wisdom (pl. 87). The path leads to the temple of fickle Fortune and ends in the 
Hall of Judgement (pl. 88). The Faithful enter into the temple of the Virtues, in vain 
the Damned try to force the entry. 

This series leads up to one of the most popular allegories of the 16 century that 
of Man fighting to save his soul. The literature on this theme is unusually large, 
only few scribblers of the 16° century have been able to resist the temptation of 
writing on a theme affording such possibilities to the author. The origin of the 
subject dates back to 14 century. 

The idea found its chief embodiment in the „Homme pécheur” a work of some 
22000 verses, which having been 'enacted at Tours in 1494, was often repeated and 
several times appeared in print. Homo is insnared by the Vices — allegoricai females 
as usual, he takes evident pleasure in fulfilling their desires. The Virtues come on 
the stage, they try to mitigate the evil influences and arm Homo with the weapons 
of faith. After much shilly-shallying the pilgrim of the earth finds the right way, he 
repents, ‘drives off the Vices who try to come near him and receives the divine 
pardon. 

Tapestry-hangings and numerous fragments depict Homo’s earthly pilgrimage in 
more or less close reference to the said source. 

One of the most splendid pieces of this kind is the large tapestry-hanging in the 
cathedral at Burgos. In the two lower corners of the tapestry prophets hold the 
scroll, bearing the legend, in accordance to the traditional scheme of the Mystery- 
Plays. The holy Trinity, God the Father, God the Son and God the holy Ghost, 
three figures of equal age are enthroned on a richly decorated seat, scores of angels 
throng round the throne. The Paradise law-suit begins. Justitia (justice divine) with 
drawn sword, holding the indictment in her hand, demands the punishment of erring 
man, Veritas utters the same views; Misericordia with the lily wand in her hand 
pleads extenuating circumstances. Pax asks for the same. 

The scenes now following describe the life of Homo on earth, the incidents are 
developed in separate groups, which, during the first decades of the 16" century 
often occur as single tapestry-hangings. 

Man appears, at first he takes very little notice of the Virtues assembled in the 
temple of Faith. Homo seeks his happiness in wordly pleasures. Justitia now thinks 
the time has come to put an end to such sinful doings. She attacks Homo, who is 
having a good time in the arms of Luxuria and her companions, with drawn sword; 
Misericordia stays her hand and begs for a reprieve (pl. 89). 

Man sees his impending fate, he repulses the Vices. The next scene in the right 
hand corner of the tapestry is very charming. The Virtues arm sinful Man with the 
weapons of faith and trust in God. Homo however throws off the coat of mail, the 
vices fall upon the defenceless man, whom none but Spes still succours. Luxuria and 
Gula treat him hadly, Temptator, the evil tempter, blows a joyful Tally-ho. Man 1s 
convicted of his sins, repents and dies. The last scene takes place before the throne 
of the divine Judge of the World. ,Humilitas” and Caritas” sit right and left of the 


35 


di el ad Pay Ui fh holo (Phicl > ook 





Saviour, „Natura” and „Miseria” beg for mercy to the erring sinner. In a somewhat 
altered form the fate of man is depicted in a tapestry-hanging from Longford Hill 
(Cornwall) which in 1910 was put up for sale in London. The piece was formerly 
hanging m Hampton Court, the frieze of the great Hall, with coats of arms of 
Henry VII, is continued in the top border. 

In a similar manner the parables from the New Testament are garnished w th 
allegorical figures and brought upon the scene after the fashion ot the Moralities 
(pl. 90; 91). Further comments are forbidden by the limited space at my disposal, 
the theme has been discussed at length in the German edition. One example only 
may be given from the wide field of the Moralities; the subject of the allegorical 
chase. 

The allegorical chase is closely connected with the unicorn-Virgin-symbol, 
which was made use of innumerable times in the fine and applied arts of the early 
middle-ages. The train of ideas can only be shortly stated. The unicorn is looked 
upon as the emblem of chastity. The hunter is unable to catch it by any ruse 
whatever. The animal will only put off it’s wildness in the lap of a pure virgin, it 
becomes tame then and gives itself up to it’s persecutor without any misgiving. This 
ancient fable, related in the Physiologus and similar Beastiaries, is transferred to 
Mary the pure mother of God, who received the Saviour, — the unicorn — in her 
immaculate womb. The hunter becomes the archangel Gabriel, bearing the annun- 
ciation to the hand-maiden of the Lord and joyfully blowing his horn. He is followed 
by his hounds, generally four of them. The names vary, as a rule Justitia is the 
blood hound, Caritas the bulldog, Spes the ferreter, Fides the drawing hound, at 
other times Veritas, Pax, Justitia and Misericordia form the pack. 

The subject is treated with special predilection in the German tapestries. 

The Gabriel symbol is interpreted in various ways in the Flemish and French 
countries. It is made independent of the unicorn and the Virgin Mary. The alle- 
gorical pack of hounds becomes the chief object, the idea is merged into the fiction 
of the chase, thereby becoming a parallel story to the Homo subject. The pilgrim 
of the earth appears under the symbolic figure of the hunted stag. 

In this manner the subject is treated in a tapestry-hanging of the Charles André 
Collection (pl. 94) Dame Ignorance (ignoranche) and mistress Vanity (Vanité) have let 
loose their pack, the hounds Wantonness, Haste and Desire hunt the stag (cerf fragile) 
the symbol of man. „Les chiens qui tenoit accouplés dedans le bois; dame ignoranche 
apres le cerf a descouplez...” 

The subject of the „Verger” must be shortly alluded to. It’s origin is the „closed 
garden”, the „hortus conclusus”, in which the Madonna reposes. The emblem of 
stainless purity given by the idea of a garden hedged round by unsurmountable 
barriers, is transferred in this form to other subjects of religious and secular art. 

The scheme is carried out still further by the repeated occurrence of another emblem 
of Mary, the well of living water (Puteus aquarum viventium). 

Tapestry-hangings of this kind are not at all rare; the smaller manufactories in parti- 
cular made use of this attractive subject to enhance the charm of their Verdures. In 
the 16 century the origin of the symbol was forgotten. The „hortus” is degraded 
a a mere means of decoration without thereby losing anything of its former charm 
pl 95). 

The pastoral plays, which became „grande mode” as early as the 414 and 
45> century — Margaret of Flanders, the wife of Philip the Brave had several 
tapesty-hangings „A brebis et a bergiers” — keep their old attraction during the 
16 century. The contemporaneous literature of Italy, which begins with the eclogues 
and ends in the Pastorale — one of the most popular themes in the tapestry-weaving 
of the baroque period — is very notable in this matter. 

The Italian poetry of eclogues treats chiefly of love-passages between shepherds and 
nymphs; the Faun or some loutish peasant comes in to trouble their peace. Occa- 


36 


Hee Tp Tr 6 tat t.o n 








sionally the scene is enlivened by gods, sorcerers and such-like figures, who ravel and 
unravel the plot. Strange metamorphoses in Ovid’s line are also found. 

One example — though a late one — the tapestry-hanging was in possession of the 
Berlin Art dealers, Altkunst, — may suffice to illustrate the theme (pl. 97). 

A Faun carries off a nymph and trots over an exceedingly ricketty bridge, bearing 
his precious burden on his back. In the foreground the nymph is seen in a boat, 
delivered out of captivity. 

The numerous series of tapestry-hangings, in which the loves of Venus and. the 
gallant deeds of Cupid are glorified (pl. 98, 108) serve as an intermediate link between 
the eclogues and the later pastoral plays in the style of Guarini’s Pastor Fido (1585) 
and Tasso’s Aminta (1573). The series of little love-gods — a motive likewise impor- 
ted from Italy — for a long time seemed unfamiliar and odd to the Flemish taste. 
The idea was first of all introduced by a series, which under the name of „tie bed 
of Leo X.” was almost as famous, as the renowned series depicting the deeds of the 
Apostels. The series included the woven bed curtains and the bedroom tapestry- 
hangings, belonging to the Medici art-lover. The series was ordered of Peter van 
Aelst m June 27% 41520. The decoration consists of fruit- garlands, among 
which Cupids are playing, and the emblem of the patron: the lion, the ostrich and 
a yoke. ‘There are all in all twenty tapestries, interwoven with threads of gold and 
silver. Fight baroque copies were found in the legacy of the princess Mathilda at 
Paris (pl. 99). The subjects are easy to understand. The whole is a graceful toying 
with the heraldic emblems of Leo X. 

The motive of the little Love-gods, as a purely decorative moment, is often made 
use of in tapestry-hangings during the 46 century. The little winged chaps climb 
about happily in the vine clad trees, playing at horses or getting into all kinds of 
mischief. One of the most beautiful series of this kind is found in the Spanish Trea- 
sury (pl. 100). 

The influence, which Ovid’s metamorphoses have on the tapestry weaving of the 
16* century must not be underrated. They are interpreted again and again. An early 
example shows the story of Erysichton (pl. 402). The king wantonly offends a statue 
of Diana, the goddess punishes him with insatiable hunger. In his need the king sells 
his daughter, the betrothal and wedding festivities with the unwelcome suitor are 
conducted according to the court-ceremonial of the 416 century. 

One of the most beautiful series after Ovid is the story of Vertumnus and Pomona 
(pl. 103, 104, 105) and the series of „Poesias”. Pl. 106 shows the delivery of Andro- 
meda. Sometimes also Virgil’s writings serve as a guide and a model. PI. 107 illu- 
strates an episode from tle Aeneid. Latinus, the king of the Aborigenese gives his 
daughter Lavinia — till then betrothed to the king of the Rutulians, Turnus — in 
marriage to Aencas. In the upper left hand corner of the tapestry, the nuptials of the 
young couple are being performed by the bishop in accordance to the rites of Chiri- 
stianity. The pries!, in full pontificals, celebrates before the altar, on which however, 
instead of a statue of Christ, the moon and the star appear as symbols of faith. The 
scene seems strange at first, especially because Aeneas, sitting at the wedding dinner 
unmistakably wears the sign of the cross upon his breast plate. This rendering is 
unusual, though not the only one of it’s kind. The tapestry was woven about the 
year 1520, at a time when such daring combinations of religious rites and pagan 
legends were not at all generally admitted. What seems very peculiar is the connec- 
tion of Aeneas’ wedding with an episode from the Sofonisba of Giangiorgio Trissino. 
In his tragedy the poet describes (1515) amongst other things the wedding of Sofo- 
nisba and Massinissa. It was thought exceedingly strange that the poet conducted 
the marriage festival — which by the way does not take place on the s'age but is rela'ed 
by a messenger — entirely after the rites of the Christian church, lett ng the priest bless 
the couple and making the wedded pair exchange their marriage rings. The short 
while, that elapsed between the appearance of Trissino’s tragedy and the Aeneas 


37 


ar eh Oe SOD 








tapestry, is the more notable from the fact that, according to experience, modern ideas 
were generally very slow in being admitted in tapestry pictures. 


As counterpart of the marriage ceremonies, the wedding-feast is depicted in the upper 
right hand corner. Latinus and the bridal pair sit at one of the long sides of the table, 
after the fashion of princes. The servants hand round the food and drink under the 
supervision of the cup-bearer. Musicians blow hornlike instruments. 

Turnus falls in chivalrous combat against Aeneas. The funeral solemnities of the 
prince are conducted with all the pomp of the 16™ century. 


An episode, taking place in the left hand foreground, seems somewhat out of place 
in the contrast it presents, to the solemnity of the funeral procession. A kneeling 
knight in splendid coat of mail, holding a hat bedecked with feathers in his left hand, 
presents a sealed letter to an elderly prmce. The action would be intelligible even 
without the name of DAVID on the ermine of the royal cloak. The messenger brings 
the tidings of the death of Uriah, who had to die for his wife’s sake, under the walls 
of Rabba, by order of the sovereign. The parallel to the death of Turnus — Lavinia: 
Bathseba — is clear, it is not as in many similar cases too forcibly dragged in by 
the hair. The confrontation of antique episodes with scenes from the old Testament, 
the one illustrating and explaining the other, is a standing rule. As in other cases the 
man of letters here leads the pace. 

The scheme is no Renaissance invention, it springs from the spirit of the middle- 
ages, who tried to connect all events of the jewish and pagan past with the New 
Testament and the teaching of the Fathers. The humanist spins the train of thougths 
out farther. 


Political allegories are among the greatest rarities in tapestries. In the year 1494 
pope Alexander VI. divided the terrestrial globe into two halves, by the meridian 
laid one hundred miles to the east of the Azores. All land, awaiting discovery on 
the west, is given to the Spaniard, all eastern territories, newly disclosed, are to belong 
to the Portuguese. 


An allegorical series, in possession of the Spanish state, gives a good idea of this 
event. The tapestries originally belonged to the treasure of the crown of the reigning 
house of Portugal. In the middle of the upper bodies a planetarium was to be seen, 
the emblem of Emanuel the Happy. 


The terrestrial globe is floating in the clouds. The part belonging to Portugal 
presents itself to the spectator together with the continents of Europe, Africa and 
Asia (pl. 113). 

A crowned sovereign — Jupiter — points to the meridian with his scepter, on the 
left Juno appears. In the air flutter the personifications of wordly fame and after 
fame, of superabundance and the sciences. Sun and moon send their rays down to 
the earth, which is fanned by the breath of the winds. The ground is covered with 
stars. This tapestry may be considered one of the finest and most expressive alle- 
gories of an historically noteworthy event. 


The method of illustrating and elucidating events from the New Testament by 
episodes from the Old Testament or from classic Antiquity is most prominent in the 
tapestries of a religious character. The chief sources for these representations during 
the 16% century are the printed edition of the Biblia pauperum (written in the 
the 413 century) and the Speculum humanae salvationis (written in first third of 
the 14 century). 

The wood-cut series of the Biblia pauperum are separated into nine divisions each 
The middles of the upper and lower row are taken up by two prophets each, the 
sides are reserved for the text. The centrepiece, being perhaps twice as high, is reserved 
for the two scenes from the Old Testament and the one scene from the New Testament. 
Emile Male has already drawn attention to the fact, that several religious series are 


38 


IOC EOT Dre ka hi on 








nothing but copies of miniatures from the Biblia pauperum, which had been published 
in print, and which had been more or less adjusted to their function as tapestry 
patterns. 

This is most true of the tapestry-hangings in La Chaise-Dieu, depicting the life of 
Christ, for instance: the annunciation, Eve and the serpent, Gideon with the fleece, 
the birth of Christ, Moses before the burning bush, the flowering staff of Aaron and 
so on. 

The well known Virgin series at Reims, the „three coronations” at Sens, the 
tapestry showing the Last Supper at Chälon-sur-Saöne and a whole row of other 
tapestries from the beginning of the 16'% century, also draw from the two sources 
above named. 

The magnificent Virgin series in the Spanish state treasury is designed quite 
independently of any literary models. The holy Trinity, accompanied by Justitia 
with bared sword and Misericordia with the lily, despatches Gabriel to the virgin 
Mary, who awaits the divine ambassador surrounded by the princes and princesses 
of the house of David (pl. 115). Four secondary scenes elucidate the idea by parallel 
examples. King David makes Bathsheba his wife, Solomon and his mother are 
enthroned together. The sibyl — in the right hand coraer — announces the coming 
of the Saviour to the emperor Octavianus. Lastly in the left-hand corner we find a 
symbol from the speculum humanae salvationis, alluding to the immaculate conception 
of the Virgin: Balaam and his ass. 

The next tapestry takes up the thread of this idea. Mary is represented as in the 
first tapestry of the series, reading the Scriptures. Allegorical figures form her court, 
we see Charity, heart in hand, Temperance with her watch, Justice with the sword, 
Wisdom with her book, Fortitude with the strangled dragon, Faith with a tablet on 
which are written the ten commandments and others. 

As herald of the Most High, Gabriel brings the divine message (pl. 116). Before the 
womb of Mary lies the crowned Son of God. The symbol — it incorporates the 
immaculate conception — is of wondrous delicacy and of impressive grandeur. 

The third tapestry shows the Birth of Christ and therewith the fulfilment of the 
divine message. The series is closed by the Coronation of the Virgin. The same idea 
runs through two tapestries, also in the Madrid State Collection. The limited space 
at my disposal prevents any discussion of this interesting series (pl. 117), but the sub- 
ject has been amply treated in the German edition. 

The counterpart to the Triumph of Mary is given in the Glory of the Son. The 
so-called Mazarin (Morgan)-tapestry and the variations in the Brussels Musées du 
Cinquantenaire give a clear idea of the treatment of this subject (pl. 119). The scheme 
is the same. Smaller scenes, elucidating the main idea, correspond to the central 
representation. 

Christ appears as the victorious „King of Kings”. Scores of angels, singing praises 
unto the Lord, surround him in the same way as in the Paradise law-suit. Justitia and 
Misericordia keep guard at the foot of the throne, ecclesiastic and secular power, 
embodied by their representatives, bend their knees in prayer. 

In the lower half of the left-hand side-wing the emperor Augustus (Octavianus) 
receives Cleopatra, the mistress of Egypt, in the background the Tiburtine Sibyl 
announces the coming of the Saviour to the sovereign. The Madonna and Child are 
depicted floating in the clouds. The small scene above illustrates the parable of the 
treasure hidden in the field. In long narrow panels we find the same figures of 
Adam and Eve as in the triumph of the Virgin. The idea signifies here as there, the 
Redemption of Man, who by the Fall of Man had suffered trouble and death. The 
three knigths in the two outer corners embody Charlemagne, Godfrey of Bouillon 
and King Arthur. Not only the living world does homage to the redeeming and 
victorious Saviour, but the heros of Antiquity likewise fought and strove for the Son 
of God, the Judge of the Last Day. 


39 


Einatie\ rip r, 6 thant t0nn 








Already at an early time the creed-tapestries play an essential part in the textile 
treasure of the Burgundian house. We find in the inventory of Philip the Brave 
(1404) „ung tappis ... du Credo fait d’ymages d’appostres et Prophetes ... ouquel est 
escript es rolleaux que tiennent les dix Appostres tout le Credo et prophesies es rooles 
que tiennent les dix Prophetes.” 

These examples can easily be multiplied by early tapestries from the French Crown 
treasure — in 1395 Louis of Orléans bought two tapestries „de Pystoire du Credo a 


doze prophetes et doze apostres” — and of the neighbouring sovereigns, Henry V. 
of England had in 1422 „I autre pece d’Arras d’or des Apostres qui commence en 
istorie Credo in Spiritum Sanctum” —; the Vatican likewise under pope Alexander VI. 


could show ,unus magnus pannus cum historia Credo”. 

The scheme, which can be traced back to the 13 century opposes the prophet, 

who anticipated the Credo to the apostle with the corresponding sentence of the 
Creed. In the 15 century this idea became public property (pl. 124). 

Pl. 425 shows a most original rendering of the Creation. Three allegorical figures 
— Sapiencia, Potencia and Benignitas — hold the crystal sphere of the earth, the 
garden of Eden emerges from the shining light. 

The rendering of the Paradise law-suit is also somewhat remarkable. God the Son 
proclaims his readiness to suffer for the redemption of erring humanity. Like a 
sovereign, renouncing his dignity for a while, God the Son descends from the throne 
of the holy Trinity. His seat in the middle becomes vacant, „Sapiencia”, „Potencia” 
and „Benignitas” receive the crown, the sphere and the imperial globe. 

Since the 14 century the Apocalypse is reproduced mnumerable times in rich 
tapestry serics. The illustrations follow the scripture verses literally, the transposition 
is done in a purely mechanical way. WVood-cuts of Dürer are often used to work 
from and are then adjusted to the requirements of tapestry-patterns (pl. 128, 129). 

The Apocalypse, the life of the Saviour and the story of the Virgin are m very 
great degree dependent from the contemporaneous mystery plays. We find the 
scenes of the ecclesiastical stage transposed almost unchanged on to the tapestries. 
The comparison of the small Renaissance buildmgs — the huuses of the seven angels 
(the seven asiatic communities) — with the stage buildings of the Passion plays at 
Valenciennes (1547) speaks more clearly than any words (pl. 427, 128). Of peculiar 
interest are the iconographic details in the Last Judgement, the Birth of Christ, the 
adoration of the Magi and several other incidents from the life of the Lord. The 
want of space limits me to one example. 

A tapestry in the Borgia Hall of the Vatican shows the Madonna in a similar pose 
to that of the Birth scene. The virgin holds the divine Infant on her knee (pl. 435, 
136). In its hands it presses a bunch of grapes; the juice — the blood of Christ — 
is caught up in a golden cup by an allegorical figure — probably Faith. Isaiah and Jesus 
the son of Sirach elucidate the scene. 

The allegory rests, like the subject of the Apocalypse, on a too literal inter- 
pretation, the symbol is carried to the utmost and most unpleasant extreme in the 
figure of „the mystic wine-press”, the body of the Saviour appearing crushed in a 
press. 

The Month- or Planet-series were extremely popular from the earliest times of 
tapes'ry-weaving in Europe. In the inventories of the sovereigns of Burgundy, as 
well as of France and of Savoy such series are repeatedly mentioned. The peculiar 
character of the Planet-tapestries is difficult to elucidate in few words. They depend 
on the doctrine of macrocosmos and microcosmos, on the manifold reciprocal relations 
between the constellations and man. The seven planets own seven houses of planets, 
which again correspond to the twelve periods of human life — 1° to 6% year: January; 

. 66=—72"4 year: december. Sun and moon own one planet-house each, the others 
have two each. 


40 


Interpretation 





Each planet exercises clearly defined influences in the houses under his control, he 
patronizes ce: tain crafts and occupations; to others again he is inclined to be hostile. 
In the Month-tapestries this idea is depicted in such a way, that the centre-piece 
shows the influence of the planet on the human activities, while the four outer corner 
pieces reflect his influence on the health of the body. The January tapestry in 
the Roman Palazzo Doria may serve as an example. The chief subject is developed 
on a broad band, in whose upper centre the small naked figure of Saturn appears 
in an oval frame, probably supposed to represent a mistaken notion of the Serpent — 
Chronos = Saturn = Time (pl. 144). According to tradition the god is represented as 
a field-labourer, carrying the pitcher of running water on his shoulder, the emblem 
of the rain, which fertilizes the soil and, at the same time, the attribute of Aquarius, 
appertaining to Saturn. For the rest, the concentric strip is filled by four-winged 
cherubs heads, which according to the heavenly hierarchy belong to the thrones, the 
inhabitants of the sphere of Saturn. The middle piece shows the festive board of 
January. In a rich hall, to which the enormous stove, composed of Dutch tiles, 
imparts an air of comfort, Sir Janus — the symbol of the departing and of the coming 
time — dines at a table covered with damask-linen. The allegory leaves nothing to 
be desired in the way of explicitness. The face on the right looks sullen and peevish, 
the right arm holds two keys. The god Janus is according to Roman tradition the 
lord of doors and egress. The left head is drinking merrily from a huge bumper. The 
figure of the desperate man in kneeling position seems inexplicable at first. But looking 
through the pictures of planet-satellites in the manuscripts bearing on this question we 
find the explanation. Saturn is lord of the supreme penal court. The Saturn picture in 
the manuscript at Tübingen of the year 1404 shows the gallows with their horrible burden. 

On the right, at the top Juno’s messenger is seen in the air, the lovely Iris, goddess 
of the ram-bow. She flies along the bridge woven of divers colours „as the snow 
flies from the clouds or the hail is driven forth by the north wind” (Homer) and 
carries water to the clouds in large buckets. 

Juno, in royal garb, appears in the chariot drawn by peacocks. The picture’ is 
prohably meant to represent the mistress of the gods driving to the „sacred wedding”, 
to her nuptials with Zeus; the first flowers and herbs are sprouting from the soil, 
miraculously fructified by the rain. 

The two lower figures embody the winds of January, the swift sea-wind Aiolos 
(Eolus) and the damp south wind Notos (nucus). 

In a similar way February is treated in the second tapestry of the Palazzo Doria 
series (pl. 145). Here also the spirit of antiquity, awakening to new life, permeates 
the design. This time no figure appears to symbolize the month, the sign of the fishes 
is replaced by Saturn. The dominating allegorical female figure „FEBRUA” embodies 
the yearly feast of Purification and Expiation, which the Romans celebrated with great 
solemnity in February. No altar fire shed light on the Believers, the temples remained 
shut on February 21; — generally the executions took place on this day accordingly 
a closed portico serves Dame February as a foot stool. The month of February is in 
general dedicated to domestic cares. An older and a young woman are busily 
occupied in spinning; a boy is playing with a small cart, the stout master of the 
house sits comfortably by the chimney, a dish of food is getting cooked on the fire. 

Pl. 146 depicts the influence of Sol. 

The metal of Sol is gold, his colour the yellow of ripe corn. July is the harvest- 
month, the gift of God falls in broad swaths under the strokes of the scythe. Dame 
Ceres appears in the clouds above the reapers, holding the sickle and several ears of 
corn in her hand. The added inscription „RUMANA” (humana) CONCINE (concinne) 
proclaims the truth, in accordance to the doctrine of Vincentius, that work and 
primarily field work enhances the beauty of life and imparts a truer value to it. 

The four allegorical figures in the corners represent the Diseases, which are most 
liable to befall man in the heats of July. They carry the characteristic weapon, the 


4l 


I De Ot TMV ihe the e aan 





thick club, with which they also appear in the series of the „Condamnation de 
Banquet et de Souper”. During the day-time, in July, man must beware of „Pestilence” 
and „Plevresis” (pleurisy), in the night of „Febres” (fever) and „Qvinancıe” (quinsey). 

Naturally the joys of field-sports are also made subservient to the signs of the Zodiac; 
thus in the first place: the chase. 

The most famous hunting-series, the „chase of Maximilian” depicts this princely 
pastime or „work” whatever one may choose to call it, according to a most sharply 
defined programme. March and April are devoted to falconry, May to October, to 
the chasing of the stag, November to January, to hunting the wild-boar, the month 
of February to the hunting-thanksgiving-festival — Ratio and Modus — and to merry 
drinking-bouts. 

A special province in the art of tapestry-weaving is occupied by the Garden 
tapestries. 

The flower-garden is less thought of than the orchard, the real pleasure-ground. 
The garden is laid out in a very large manner and without regard to space, in the 
middle or on the side a smooth lawn is spread out and covered with the most 
delicious flowers. At times the Love-garden is included as a special feature in the 
general plan. In this case it is, similarly to the „Verger d’honneur”, enclosed by a 
hurdle-fence or a wall. The well is it’s chief ornament. Grass seats on a low wall 
invite the lovers to tarry a while. The millefleurs tapestries are no speciality of the 
Touraine manufactories, as is often supposed, they are found in nearly all Flemish 
and Brabant studios. ‘They are nought else than the truthful and exact renderings of 
the castle- and love-gardens of the later middle-ages. The figures of couples walking 
about, dancing or playing on some musical instrument are carelessly strewn in here 
and there. How such a court of the Dieu d’Amour, in which every one is in love 
and everyone is affected, presents itself to the observer, is shown with delicious 
naiveté in several dorsal tapestries of the first third of the 16% century, in possession 
of the Spanish state (pl. 149). 

Love-garden-tapestries of the first third of the 16“ century are still comparatively 
numerous. There is for instance the splendid concert by the well in the Louvre 
museum, the company strolling about the garden in the Musée des Arts décoratifs in 
Paris (pl. 150) or the bath-scene with musical accompaniment in the Paris Cluny 
museum, which gives a detailed account of the life of the upper classes in the freedom 
of nature. 

The rose-hedge was of old the most popular enclosure of the palace- and castle- 
gardens in the late middle-ages. The Tournai tapestries of the Romance of the Rose 
(pl. 191) develop their subject in a noble garden and under the shade of a hedge 
of roses. 

The London Victoria and Albert museum is in possession of a picture-tapestry: 
Susanna sitting by the fountain and washing her feet. The two old men look on 
with lustful eyes at the somewhat unexciting proceeding (pl. 151). Here again a custom 
of the times has merely been depicted in a manner absolutely true to nature. The 
long, narrow, rather flat pond is never omitted in any fine castle-garden. The custom 
of washing ones feet before meals — aquired from Spanish-Mauresque culture — was 
probably introduced into France, as early as the 13% century, in the 15" century a 
bath was considered an essential requisite. 

A typical Renaissance-garden is depicted in a tapestry of the Madrid state collection 
(pl. 152). A comparison with the Furttenbach engraving (pl. 153) saves all further 
explanation. 

Characteristic of the French and German-Dutch way of laying out a garden is 
the predilection for running water (pl. 158, 159). 

A design of Leonardo da Vinci’s (about 1544) for a castle near Amboise shows a 
canal, running through a garden, and by the side of this garden a large pond, on 
which water combats could take place, after the fashion of the Ancients. 


42 


EL CBT Nata Gb 61.0.0 








A similar garden is depicted in a tapestry-hanging from the „Feasts of Henry III. 
of France” (pl. 155). 

In the second third of the 16 century the garden of the Netherlands is still more 
splendidly decorated. Special attention is given to the parting-wall, which separates 
the lawn or the riding green, always laid in immediate connection with the house, 
from the garden. 

An engraving in the Munich cabinet of engravings shows the garden of the pomp- 
loving burgomaster of Francfort, Johannes Schwindt (pl. 154). The enclosure railings, 
deceptively made to represent rich architectural forms, rows of columns, obelisks and 
volutes, offer the illusion of a magnificent colonnade. On the window sills stand 
vases with flowering or clipped trees. 

The arcades of Italian gardens were the patterns from which this was copied. In 
a series in the royal Spanish collection we find a tapestry that to a certain degree 
recalls the way the building and grounds of Schwindt are laid out (pl. 156). 

Pictures of ruins are repeatedly given in tapestry-hangings either in connection with 
pleasure-grounds or by themselves. A principal part was evidently played by the 
Colosseum and other Roman ruins. 

The tapestry of the meeting of Jacob and Esau (pl. 161) shows in the background 
- — at the top on the left side — the gigantic perpendicular wall of the Settizonium 
with it’s three ranges of columns one above the other. 

The large-leafed Verdures bear a special character. They fill up the entire centre 
of the tapestry, wild or tame animals appearing here or there among the foliage. It 
is not quite a simple matter, to explain the origin and gradual development of this 
highly decorative species. Already in late Gothic times and in the early Renaissance 
there was a marked tendency to let the plants — at first these were mostly rare 
and beautiful specimens — luxuriate at random ever the flowering meadow. Four 
tapestries of the Wartburg offer good examples of this treatment. Sword-lilies, a kind 
of Passion flower, near it a broad leafed acanthus almost hide the metal fountain 
(pl. 160, 95). The closing of the garden by a kind of hurdle fence is clearly discernible. 
n the second tapestry of the series everything is already covered with rank growth. The 
back ground with the sleeping shepherd and the fountain is hardly to be seen any more. 

If the first Wartburg tapestry shows the flowered meadow with the fountain, the 
second one is taken up by a view of the park. 

This development is still more clearly seen in pl. 162. The park with its enclosure 
is unmistakable. On the further side of the railings lie the real hunting grounds, we 
see stags, deer and wild boars in it. The process of covering up by luxuriant growth 
is already far advanced. 

The rendering of the park view is gradually developed in two different ways. Either 
the plants spread all over the tapestry, the animals becoming mere accessories — the 
large-leafed verdure appears — or the idea of the wood is kept and picturesquely 
treated; the Green- or Wood tapestry with foliage, meadows, animals and glimpses 
of distant landscapes is produced. In gradual development the foliage of the large- 
leafed verdures at first only covers up the lower part of the ground, then two-thirds, 
till at last the horizon is reduced to a narrow streak, even this disappearing in the 
end. It is impossible to put these tapestries down to any given manufactory. In 
spite of their simple means they are highly ornamental. There is an inclination to 
regard Enghien as the place where the Thistle-verdure was produced, because one 
or another of these tapestries occasionally bears the town-mark. As a matter of fact 
all the various studios of Flanders, Brabant and Holland habitually produce tapestries 
of this kind, which could be manufacured at small cost. The work rooms of Felletin 
and Aubusson also come into question for a certain variety of the species (pl. 444, 
442, 456, 470, 471, 474, 476, 510). 

The new ideas, to which Le Notre and his school had given rise, naturally gained 
a strong influence on the garden-tapestry. Pure garden pictures, which represent the 


43 


Tne ToD Tene 





garden for it’s own sake are no more to be found after the 17% century. Gardens 
and woods serve as an effective background, as a stage-scene. In spite of this the 
details are thought out with exactitude and clearness. 

The art of Le Notre paid special attention to the picturesque treatment of the 
water in the princely gardens. The old moat, the rivulets enclosing a single garden 
are banished entirely. The water-garden with it’s manifold decoration of statues, the 
water works and the canals are traced in accordance to the architectural axis and 
impart life and movement to the classical but slightly dull appearance of the French 
garden. The pavillon is a favorite subject as an ending of the canal (pl. 165). In the 
second third of the 18% century Chinese reminiscences in the form of small pavillons, 
quaintly turned cascades, bow-shaped bridges and other such things are repeatedly 
noticeable in the tapestry-hangings of France and the Netherlands. The cause may 
be seen in the more lively commercial intercourse with the East (pl. 459). 

The English or landscape garden is of comparatively small influence in tapestry- 
weaving. Only about the year 1750 the new ideal of freedom in nature untouched 
by human hands is visible in the productions of France and the Netherlands. The 
landscape garden only gains importance for tapestry-hangings in the manufactory of 
Aubusson and Beauvais. . 

The theme of the armorial tapestries can only be mentioned in a few words. 

The circular or oval garden of honour, closed in by rails or hurdles, the verger 
d’honneur still remains popular in the second half of the 16 century. One of the 
most typical series of this kind was produced in 1530 by the manufactory of Enghien. 
The garden of honour series of Antoine de Jauche, seigneur de Mastaing, is at present 
in the castle of Vrigny. 

The heraldic beast of the family is not seldom replaced by an allegorical female 
figure, who bears the scroll and the shield of the Sieur. 

Still more often the heraldic beast or the allegory is replaced by a green tree, 
with the escutcheon hanging in its branches. 

By the side of the tent-motive — the tent, Jater the armorial pall, serves as a 
decorative background to the emblem of prerogative — in the 47'% century we often 
find the portico or the colonnade, in the tympan are seen the family bearings (pl. 168). 

A further species of tapestry hanging’s shows the emblem of prerogative on a 
flowered or otherwise ornamented background. The scheme is already in use during 
the 14" and 15" century. The escutcheon, with or without the mantling takes up 
the centre of the tapestry. Round it are grouped the device, the badge of the order, 
or the heraldic emblems. Sometimes the sign of prerogative is surrounded by a 
laurel wreath or a wreath made of oak-leaves, flowers and ornaments cover the 
remaining surface of the tapestry. The armorial tapestry very often serves as a table- 
cloth; this manner of using it permits the putting in of innumerable family arms, 
which do not only take up the centre piece and the four corners of the inner ground, 
but run all over the border also (pl. 169). 

The chimney tapestries of the Dutch manufactories are quite out of the usual line 
of productions. The finest piece of this kind is now in the Abbey of Middelburg 
(pl. 306). 


The 1744 century. eR 


With the second half of the 16% century the star of literature, the most prominent 
source of influence for the pattern-painter’s designs, begins to wane and at length to 
disappear. The poets or the historians, whose task had been the minute disposition 
of every detail, become superfluous, the moment, that the painter remembers to take 


44 


LETC D tei Cn lend bod ON 











the lead and refuses the cooperation of the men of letters. This view is taken first 
of ail in the case of well-known allegories. In historical and mythological represen- 
taticns of frequent occurrence the designer of the ,petits patrons” already becomes 
independent in the first half of the 16‘ century. 

An exception is made by the Saints-series and certain other series in which con- 
temporary events are allegorized. 

The main idea of the well-known ,series of queen Artemisia” is traceable to the 
46 century, even though only series from the following century have been preserved. 
The key to it is given, in the history of the „roine Artemise”, which the Paris chemist, 
Nicolas Houel, dedicated to the French queen, Catherine of Medicis, in 1562. The 
chief value of this compilation, which is drawn from several older authors rests less 
in the literary production itself, than in the drawings illustrating the plot. 

In the dedication Houel does not disguise his intentions „... Histoire, ause bien 
dire, autant 4 propos pour le temps, que conforme & votre grandeur et vertu. De 
laquelle, suivant les desseigns mis par bon ordre, vous pourrez faire voyr de riches 
tapisseryes pour l’ornement de vos maisons des Tuileries et Saint-Maur...” 

Under the veil of antiquity the most essential acts of the reign of Henry II. are 
discussed. While the former royalist tapestry-series — the legendary kings of France 
and others — celebrate the dignity and finally also the eternal duration of the reigning 
house, Houel appeals to his contemporaries by the antique notion of inconsolable grief 
on the part of the widow, mourning for her husband. This grief appears justified by 
the supposed extraordinary merits of the deceased and, while it honours the widow 
herself also enjoins upon her the arduous duty, of bringing up her son as a worthy 
successor to his father. 

The quaint mixing-up of the monarchic idea with art, science and jurisdiction is 
typical of the time; a broad margin is left for the strengthening and recuperation of ~ 
the body and the soul. The allegory, the spoilt-child of the 16% and 17" century, of 
course is not omitted either (pl. 171). 

The story of queen Artemisia is the only one of the monarchic series placed upon 
the loom during the baroque time, which makes use of literary guidance. The pattern 
painter depicts contemporaneous events entirely from his own observation or from 
sketches, placed at his disposal. This is true of the well-known story of Louis XIV. 
as well as of the deeds of the landgrave Philip the Magnanimous, from the Kassel 
manufactory, the history of the Irish war, the feats of the Great Elector (Berlin Manu- 
factory) and of many others. 

Now as heretofore the pattern painter shows decided preference for the ancient 
histories. The writings of Plutarch, in particular his biographies, are made extensive 
use of (pl. 172), Titus Livius (Roman history), Xenophon (Kyropaedia) Q. Curtius Rufus 
Life of Alexander the Great) serve in more than one case as literary references. The 
Odyssee and the Iliad are only taken recourse to in comparatively later times. The 
contemporaneous dramas and tragedies gain no influence whatever. Racine’s Athalie 
(4691) and Bajazet (1672) needed a span of, roughly speaking, half a century before 
they celebrated their resurrection in the Gobelin series of the „Scenes de l’Opera, de 
Tragédie et de Comédie (1747—1749).” 

There is a complete change of scene as soon as we arrive at the favorite theme of 
tapestry-weaving during the 17 century, the pastoral tapestries. The inventories of 
the time already offer the most plentiful documentary evidence. The Orlando Furioso 
according to Ariosto (pl. 491) does not appear less than some twenty times in the 
registers of legacies and property seen through by me. The inventory of Florimond 
Robertet (1532) already mentions „Roland le Furieux”. More than a century later 
(1682) a Roland series, consisting of seven tapestry-hangings, appears besides the Pastor 
Fido in the documents relating to the property of Colbert. As late as the second half 
of the 18% century the Orlando Furioso has lost nothing of his old attraction. Guarimi’s 
„ll Pastor fido” (pl. 173) is hardly behind him in this respect, more rare is the series 


45 


LIU CTA) ee Rag 





of the Astrée according to Honoré d’Urfé. The Quinault operas Armide (1685); Roland 
(1685) and Amadis (1684) are often seen in series of tapestry-hangings. Tasso’s Aminta 
and a few scenes from the Jerusalem Delivered (pl. 174), as well as some episodes 
from the standard novel of the times „Le Grand Cyrus” by Mademoiselle de Scudéry 
are of rarer occurrence. 

This short notice must suffice here instead of the more detailed account, which the 
German edition gives of the tapestries, whose pictures are derived from contemporaneous 
novels, pastoral plays and operas. The „adventures of Telemach” are of a certain impor- 
tance. The studios of Brussels (Urban Leyniers), as well as the Madrid manufactories 
of Santa Barbara and Santa Isabel, make use of Fénélon’s well-known educational novel. 

The loves of the shepherd couple Gombaut and Macée are something quite out of 
the common run of tapestry-subjects. 

Their literary origin cannot be traced with any certainty. This Pastoral dates back 
to the beginning of the 16% century. The inventory of the legacies of Robertet (41532) 
mentions the series „Combault et Massee”. The inventory of the French crown en- 
numerates several series, for instance the Paris series of the „Nopces de Gombault et 
Macée” — seven tapestries — and a roughly woven Oudenarde series of eight 
tapestries (pl. 451). Brussels and Aubusson repeatedly bring this favorite subject (pl. 74). 

The series, a solem allegory disguised as a pastoral idyll, earnestly reminds the con- 
temporaries of the end of all things. 

The allegorical topics of the baroque time can be in general separated into four 
large groups. The first embraces the almightiness of Love; the second depicts the 
enemies of human life, the diseases and the vices; the third confines itself to pictures 
of a more general character, such as the glorification of one of the heroes of antiquity 
or of modern times, the fourth and last is dedicated to the glorification of the Church. 
The Cupid tapestries are either worked in accordance with passages from Ovid’s Meta- 
morphoses, or they connect the Love-God with various symbolic figures. Grief appears 
as an old woman, hiding her head underneath a dark cloak, bearing a handkerchief 
in her right hand and holding the torch downwards with her left. Avarice hits at 
the terrified Cupid with the money-bag (pl. 175) and so on. 

”The Life of Man”, as the baroque time conceived it, resembles in many points the 
Pelerinage de ’Homme or the Homme pécheur of the late 15 century. 

The series — likewise in possession of the Spanish state — describes the pilgrim’s 
life on earth. Man gives himself up to the joys of life, senselessly he chains his fate 
to blind fortune. The sufferings of age (pl. 176) cause him to reflect. Death comes 
as victor. The last, perhaps most characteristic tapestry of this kind has, by a lucky 
chance, been found in German private possession; it is wanting in the Madrid state 
collection (pl..177). 

Death strides over a field strewn with dead bodies, amongst which despite the 
smallness of the details the typical representatives of the different social orders — the 
pope, the king and so on — can be recognized. Allegorical figures try to save them- 
selves in mad haste. Power — a prince dressed in rich cloak of brocade, accom- 
panied by an armed follower turns his head away in horror from the Destroyer. On 
the ground lie the allegories of the „seven liberal arts”, writhing in death agony. We 
see Mother Philosophia, a many-breasted female figure, Arithmetic, a still lusty man, 
the table of reckonmgs serves as emblem, a crowned queen, probably the embodiment 
of music. Saturn also, as symbol of Time, belongs to the vanquished, on his shoulder 
he wears the band with the signs of the zodiac. The foreground is strewn with 
emblems of various kinds; helmet, shield, club, sword, scepter, laurel-wreath, inkpot, 
pen, bundles of deeds, slate for reckoning lie together in many-hued disorder. The 
background is kept in heavy dark tones, the glowing colours of the large figures are 
ährown out most effectively, the clouds are torn by lightning. The treatment of the 
principal figure is most characteristic for the tenor of the whole picture. Death is 
represented as a tiny skeleton, wrapped up in a cloak and marching along some- 


46 


UBIRCRCSTHDAT Cal At ton 





where in the far back ground. The hight of this figure is no more than 36 cm, the 
colouring melts away into the blue-gray of the sky. By the side of Death the colossal 
figure of the flymg king rises to a hight of no less than 255 cm. This tapestry is 
probably the only one of it’s kind; the figure of Death in the very act of destruction 
has been treated with originality and artistic feeling. 

Several allegorical series of the Vienna state collection are designed on similar prin- 
ciples. One series illustrates the Forces which govern the world; the cartoons were 
designed by Ludwig van Schoor. Abundantia is surrounded by the symbols of 
affluence. Simplicitas has a boy playing, as her emblem (pl. 339). Monarchia carries 
the scepter and the terrestrial globe, Sapientia holds a vessel in her hands, out of 
which flames are bursting and so on. 

Even such purely historical series as the history of Decius Mus after designs by 
Rubens, are not satisfied with merely depicting the traditional episodes (pl. 178, 304). 

The most popular allegorical series, which the creative genius of Rubens gave to 
posterity, is seen in the Triumph of the Eucharist; a gigantic series of no less than 
15 tapestry-hangings. This series was produced by order of the Infanta Isabella. The 
Madrid convent of the nuns of Sta. Clara preserves these tapestries in their original 
place, as it’s most valued possession. 

The triumphs of Petrarch and of Romano are born again in the spirit of the Baroque. 
All forms are! filled| with the glow of life and movement; the strongest passion, the 
most tender devotion, turn these gigantic tapestries into an allegorical poem of soul 
stirring power, into a confession of faith monumental in it’s grandeur. 

There is no reason to connect these subjects with the numerous allegories of Otto 
van Veen. But in spite of this, the influence of Rubens’ master on tapestry-weaving 
should not be underrated. Evidently his engravings were not copied directly, but the 
„Emblemata Horatiana” and the „Amorum Emblemata” are often used as a source of 
inspiration. The close connection between the essential character of the engraving 
«Niet sneller dan de Tyd” (pl. 182) and the tapestry-hanging from the Life of Man 
series, which has just been described, is umistakable (pl. 176). It is about the same 
thing with the triumphant Virtue (pl. 180), an engraving from the Emblemata Hora- 
tiana and the victorious Roma in the Decius-Mus-series (pl. 178). A comparison of the 
proverb-illustrations of the „VVeltlust teelt smerte” (pl. 481) with the Brussels tapestry 
in possession of the Berlin art dealer J. Klausner & Son is not without interest (pl. 179). 

The tapestries, which are dedicated to proverbs and „Emblemata” are closely con- 
nected with the allegorical-mythological tapestries. In 1644 Jacob Jordaens painted „the 
decoration of a room, figures, especially certain proverbs in pictures, which he should 
find proper for the occasion at 8 gulden the ell”, for the Brussels weavers and dealers 
Franz van Cotthem, Jan Cordijs and Baudoin van Beveren. 

This series is of special interest, not only on account of the singular topic, which 
it treats of, but also because it shows most clearly, to what degree the baroque time 
had already lost sight of the former leading principle of a continuous fiction as back- 
bone to every logically correct series. Master Jordaens in his „Proverbs” is in no wise 
led by any consecutive train of ideas, he just sets a few pictures together, as he thinks 
fit, making such alterations at the case requires. The series is then complete, being 
only loosely jomed together by the general idea of „Proverbs”. 

The chase series were still popular in the 17 and 18 century. The greatest zeal 
is shown in the representation of stag hunting. Primarily to be named are the chases 
of Louis XV. (after Oudry) and the „Engelska jakten” worked at Delft (pl. 479, 
496, 497). 

For ie sake of a clearer survey the garden tapestries were already treated as a 
whole in the last chapter. a 

The armorial tapestry of the 19** century brings forth no new ideas or forms. The 
Verger d’honneur dies out, the allegory takes it’s place (pl. 185, 186). Most extensive 
use 1s made of winged „Renommees”. 


47 


LON ST OLY s DoT CGY Mier Dg? 





The tapestry-hanging with the arms of the Visconti-Arese from the manufactory of 
the Clerc, which was shown at the Brussels exhibition in 1905 may serve as an example. 

The tapestry curtains of the Gobelins with the arms of the king of France and 
Navarre are designed after the same principle. The shields, born by genii, are sur- 
rounded by trophies of weapons, emblems of the order, cornucopias to denote wealth 
and symbols of divers kinds. The terrestrial globe, the sun, the crown and the device 
Nec pluribus impar denote the royal consciousness of sovereignty carried to an undue 
extreme in the idea of being „by the grace of God, the Roi soleil”. 


The 18th CEnNLULY 


The end of tapestry-weaving did not come suddenly when the very acme of technical 
perfection had been reached, towards the end of the 18" century. It carried the germ 
of death already in the foregoing century. The want of great guiding ideas, a thing 
which at once strikes the beholder led to the copying of older series. This process 
is not solely to be explained by artistic motives, as for mstance the predilection for 
Raphael and his school. The series of the Fructus Belli is repeated several times in 
the Baroque epoch, the borders always appearing in new and fashionable designs. 
It is the same with the Scipio series, the series of Tobias and the story of Jacob and 
many others. The Paris manufactory was conducted on identical principles. The chases 
of Maximilian, the splendid Luke-months, the triumphs of the gods, are copied again 
and again. 

The series of the „Chambres du Vatican” is designed after copies by the French 
academy at Rome, and the case is similar where the subjects from fables after Giulio 
Romano come into question, 

Occasionally paintings, forming an independent series, are slightly altered and modi- 
fied according to need. The most typical example is perhaps the famous Gobelin 
series „Les Indes”. They were copied from paintings, which Maurice of Nassau-Orange 
had once presented to Louis XIV. For a long time these paintings were kept hidden 
away in the royal magazines. The original „India” series depicts, in brightly coloured 
episodes, the life and manners of the inhabitants of the newly discovered countries; 
it is a mixture of fiction and truth. 

The social life of the time is excellently reflected in the series of the manufactories 
of Beauvais, Aubusson and Brussels. The famous „Noble Pastorale” is not held to-gether 
by any coherent idea. Boucher painted the series in the year 1755. It consists of 
six tapestry-hangings, the fountain of love — perhaps still influenced by d’ Urfés 
Astrée —, the flute-player, the fisher, the bird-catcher, the whole ending in a breakfast- 
scene and a pastoral scene. 

The new ideal is embodied, perhaps with even greater clearness, in a series, pro- 
duced some twenty years later (1772), the Amusements de la campagne”, which have 
the chase as their subject. 

The Russian games (1769) after Le Prince are designed conformably to the popular 
masquerades of the times. 

The Flemish and Brabant manufactories do not come under the influence of the modern 
spirit, in the same measure, as the leading studios of France. It took a long time, be- 
fore the Netherlander gave up his preference for Teniers’ peasant scenes — a more 
honest conception of country-life — for the sake of replacing him by the fine gentle- 
man playing at blind-man’s-buff and the „grande dame” sitting in a swing or jumping 
over a skipping robe. 

The most typical and, at the same time, most popular series of the 18 century is 
without doubt, the story of Don Quijote, according to the famous novel by Miguel 
de Cervantes Saavedra. The manufactories of Brussels (Reydams-Leyniers) as well as 


48 


IU MCRCIe pi TCuindal . 0 7 





the Gobelins (after cartoons by Charles Coypel), Beauvais (after Nattoire), Aubusson, 
Madrid (after designs by Procaccini) and Naples repeatedly produce series of this kind. 

The Italian comedy runs out in the picture tapestries, after more than a century’s 
existence, in carnival scenes, resplendent in bright colours and glowing with the joy 
of life. One of the finest and most characteristic series was made by Master Pirot for 
the Würzburg castle. 

If the direct contact with literature is somewhat painfully missing in the late Flemish 
and French series, the Goya-tapestries of the Madrid state Manufactory are on the 
contrary kept in strict accordance with a literary work of the times. From 1776 to 
1791 the master designed no less than 45 cartoons, the „Sainetes’ of Don Ramon 
de la Cruz served him as a guiding thread. For the last time the interludes — lively 
and drastic scenes, depicting the customs and manners of the people — show their old 
attraction. 

The same desire for realism meets us in the numerous Brussels series, from the second 
half of the 48% century, depicting the life of country people, boatmen and soldiers, 
The Teniers’ figures are no longer popular, the dancing and feasting peasants, the 
drinking and love-making soldiers behave with more decency and elegance. 

The highly decorative and effective harbour-views are much in demand, the same is 
to be said of the campaign episodes, which are brought mto more or less arbitrary 
connection with various generals. 

The „Chinoiseries”, the Turkish and Persian episodes again have nothing to do with 
the literary productions of the time, although there are plenty of dramas treating of 
exotic subjects. It is merely the love of foreign things the longing for the picturesque 
Unknown which speaks from these late descendants of tapestry-weaving. 


49 


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The County of Artois. 


Arras. 


The origins of the tapestry-manufactories in the former capital of Artois date back 
far beyond the year 1313, the time when they are first mentioned. 

The tapestries of the first half of the 14 century, of which we have evidence, already 
show such a degree of artistic and technical perfection, that they necessarily presuppose 
a lengthy previous tradition. WVe must try to picture to ourselves, the manner of 
production and the general way, in which the trade of tapestry weaving was carried 
on at Arras. 

The best known families of tapestry weavers are the Boursettes and Walois. Both 
are members of the Arras patriciate. Vincent Boursette (f 6. 11. 1376 old style) as well 
as Huart Walois (7 13. Il. 1444 o. st.) are mentioned in the lists of aldermen. The latter 
is reckoned amongst the most highly esteemed „Porters”, his family having risen from the 
old „gilda mercatorum” so furiously fought against by the corporations. Huart Valois 
dealt chiefly in „draps de hautelisse ou d’alemarche”. He carried on a lively trade in 
the exportation of cloth and in 1376 opened, conjointly with his brother Jacob, a large 
ware-house, which was specially intended for the sale of those kind of materials called 
«sarges”. Besides this, he carried on a brokers business in wool and other materials. _ 

The social conditions of Vincent Boursette are about the same. He deals in tapestry- 
hangings, as well as in cloths and in the magnificent Italian and North Italian brocades 
called „draps d’or”. Most of the Arras ,tapissiers” deal both in cloths and brocades. 
Others agam are proprietors of a banking-business like Andrew de Mouchi (Monchy). 
Jehan Cosset, Perrot le Conte and Michel Bernard live as well to do revenue-lease- 
holders, besides keeping up a lucrative wine business. Cosset in particular is many- 
sided, he even deals in goldsmith’s work. Rifflart Faimal, Jehan de Groisettes and Andrew 
de Mouchi are repeatedly mentioned as wine merchants in the documents of the town 
archives. WVilleaume au Vaissel, Philippe de la Vigne, Martin de Paris, Baudin Fastoul, 
Mathieu d’Avions deal in tapestries, as well as in cloth and brocades. One and all, 
they belong to the commercial upper classes, to the „Poorters” of the town. 

These short statements are sufficient to throw a light on the peculiar character of 
the manufactories of Arras, supposed to be conducted on a large scale. As a matter 
of fact, there was no weaving-business in possession of sufficient funds to buy up, 
manipulate and keep the enormous quantities of raw materials necessary, till such time 
as they could be sold and paid for. There are only a few exceptions to this state of 
things, among these is Pierre Feré, the creator of the well-known series in the cathe- 
dral of Tournai. In what way a tapestry-picture was actually produced, is made evident 
by a bargain made in 1444 by Jehan du Clercq, the abbot (1429—1461) of the convent 
of Saint-Vaast near Arras. This art-loving priest intended to have a tapestry-hanging, 
richly enhanced by gold, worked for his church. The subject chosen is the resur- 
rection of the Saviour. The well-known painter Jacques Daret, probably an inhabitant 
of Arras during the years 1444 to 1453, was entrusted with the designing of the 


51 


A. UT Te ES 





cartoons. He did his work in the hautelisse manner, that is to say, he did not paint 
his picture as reflected in a mirror, as the basselisse technique requires it, but as a 
correct model. The cartoons are later on to decorate the large hall of the abbey. 
Willaume au Vaissel, the tapestry-broker and silk-merchant, well-known from the 
accounts of the house of Burgundy, gets the further comission. He corresponds with 
the proprietors of two weavers workrooms. Obert de Saint-Ylaire and Jehan Truie, 
whom he provides with the materials „bons déliés fillés de laine bien tains” that is 
to say wools well dyed and twisted, the shading silks and the gold thread. The 
workmen’s wages and the raw materials were separately calculated. The total amount 
is paid out to Willaume au Vaissel, who then settles with the weavers. 

The cost of the materials, including the payment made to the commercial agent, 
amounts to about 136 livres, while the actual handiwork is thought to be amply 
remunerated by 106 livres. The picture tapestry measures 36 square ells, so that the 
handiwork is rated at about 3 livres. Except the two weavers already before named, 
Jehan de Gamond and the lately deceased Pierre de Theluch are mentioned in 1437, 
when they received orders for two simple tapestry covers for two praying desks and 
for five altar cushions „et escript sur les dicts draps et cousins Ave Maria”. The 
measures are not given, so that it is impossible to ascertain the rate of payment. 

Pierre Feré is known by the still partially preserved series of the saints Piat and 
Eleutherius, in the cathedral at Tournai. The now no longer existing scroll bears the 
inscription: 

«Ces draps furent faicts et achevés, 
En Arras par Pierrot Feré 
L’an mil quatre cens et deux”. 


Since 1395 the master’s name is entered in the town-registers. He lives in the neigh- 
bourhood of a brewery, called „Moutonchel a la goudale” not far from the town-hall. 
After the death of Pierre Feré (about 1430), his business passes on to his son Jehan 
(; 1454), Pierotin Feré, his grandson, carries on the manufactory. 

One other weaver, together with the series, produced by him, is mentioned in the 
inventory (May 7% 1405) of Margaret of Flanders, duchess of Burgundy. In the Blass- 
evel castle near Arras there is to be found amongst other things „un vies (vieux) tappis 
de hauteliche qui parle du Mariage de la fille d’un seigneur, et y est escript comment 
il fut fait a Arras en la maison de Haton le Potier”. In the inventory the tapestry is 
called old; after the fashion in which the expression was then used the age of the 
tapestry will probably have amounted to 30 or 40 years at the utmost. Haton le 
Potier would therefore have completed the piece about 1370. 

Of some names it seems doubtful, wether they belong to merchants or to weavers, 
or also to men uniting both trades in their person, as for instance Simon Bae, who, 
on July 16 1378, received from the king Charles V. 100 golden francs for a series 
worked in lilies. The same can be said of Gilles Englentier, mentioned in 1390/91 
(armorial tapestries), of Jehan Julien (1396 to 1403: rich antipendiums: St. Paul and 
St. Anthony, the crucifixion; the tree of Life) of his son bearing the same name 
(armorial tapestries) of Andrée Rousseau (1412: PYstoire comment Dieu envoya les 
fleurs de lis en France qui bailliées furent au roy Clovis) and of Jehan Visse (1432/33: 
armorial tapestries). Michel Bernard, who amongst other things sold the famous ta- 
pestry of the battle of Roosebeke, was probably only a merchant and not a weaver. 
Willemet Le Blont (1387) on the contrary is ,ouvrier de hauteliche” likewise Jehan 
de Lain, who emigrated to Valenciennes in 1388, Pierre de Bapaume and Gillos 
de Marquais, who in 1384 are busy reparing forty-two tapestries, fallen into decay, 
in the ducal house of textiles, at Arras. Pierre Clabaut of Arras is alluded to as a 
«pourpointier”, he works as restorer and repairs damaged tapestries as well as rich 
stuffs. On September 2274 1386, the duke of Burgundy caused a payment of 900 francs 
to be made to the tapestry broker, Jehan Cosset and to one Robert Le Fuzelier for 


52 


AD Payee GP 





an Alexander series. It does not seem improbable, that Le Fuzelier may have been 
the actual weaver, who in that case had made the usual business-contract with Cosset. 

A most peculiar order was given to the Arras weaver Colart d’Auxy on January 24 1398. 
He received 120 escus d’or for removing the figure of the count of Flanders, „l’ymage 
de feu monseigneur le conte de Flandres, que Dieux pardoint” (Louis I. of Maele), out 
of the series of the 41 peers of France and for remaking, far more richly the figure 
of this deceased prince. This was no doubt an act of piety on the part of the duchess 
Margaret, who evidently meant to honour the family of the counts of Dampierre, 
which had become extinct in the male line. At the same time this evidence offers 
sufficient proof, that even before the year 1400 life-like portraits were occasionally 
woven in tapestry. 

In 1400/1401 Colart d’Auxy or d’Inchy sold a series of twelve heroes to the duke. 
In the same year he is occupied in reparing damages at Hesdin, the favorite castle of 
Philip the Brave. Probably this master was one of the weavers, who in 1393/94 worked 
the above mentioned series of 11 peers at Hesdin. 

In 1402 Collart was ordered to divide into three separate tapestries, the gigantic 
tapestry of the battle of Roosebeke, which in consequence of it’s enormous dimensions 
(56 ells in length and 7*/, ells in hight) could only be suspended with the greatest 
difficulty. 

„Quant ilz furent partis en trois, lesquels Monditseigneur fist ralongier chacun d’iceulx 
trois tappis d’une ausne d’Arras, 4 chacun bout, de euvre d’arbroierie (foliage) semblable 
a celle des dessusdiz tappis, faicte par telle maniere que l’on ne povoit appercevoir 
quils fuissent oncques ralongiez, et sembloit que chascun tapiz eust este fait a par lui 
dés le commencement”. This statement speaks more loudly, than any praise for the 
efficiency of the weaver, who received 90 gold livres for his work. Technically and 
artistically the proceeding is likewise not devoid of interest. The lengthening of the 
three tapestries, which had been cut asunder in the manner described, was not made 
from any considerations of space, but from purely aesthetic reasons „parce que les 
ymages estoient trop prez des bonts (bont = border)”. Later on each of the three 
pieces was again divided. In an artistic sense the finishing off of the tapestry by 
the addition of bushes is of essential importance, as the same principle can be ob- 
served in the later Tournai series, the tapestry of the knight of the swan, and similar works. 

A good many tapestries, difficult to handle, were subjected to the same kind of 
treatment as the tapestry of the Roosebeke battle. 

The disorders resulting from the unending wars between England and France de- 
prived the Arras merchants of their chief market. The principal emporium, Paris, fell 
into the enemy’s hands. 

The events of the war, after the death of Charles the Brave and the taking of the 
town by Louis XI of France, did away with the last remnants of the once numerous 
weaving manufactories. The studios of the 16% century (Laurent de Romaignan) and 
of the 17 century (Vinzenz van Quickelberghe 1624) are of no great importance. 
Bernard Plantez (1736—1765) chiefly produced cheap verdures and furniture tapestry. 
For a short while (4740) Jean-Francois Bouché was busy at Arras. 

It is somewhat difficult to judge of the productions of the best times of Arras 
picture-tapestry-weaving as only a few remnants have been spared to us from the in- 
numerable series „de loeuvre d’Arras”. The tapestries which are still existing and 
which can be ascribed to Arras, are one and all not representative of the highest 
quality of tapestry-weaving, as it was understood at the time of their production. 
The only series, for whose Arras origin there is documentary evidence, the series of 
the Saints Piat and Eleutherius in the cathedral at Tournai. cannot possibly be looked 
upon as the prototype of Arras picture weaving (pl. 188). The tapestries are worked 
in wool all through; gold, silver and silks are missing. The colours have faded very 
much, the reds and blues have kept somewhat better, as is the case in all early 
tapestries. 


58 


A: N aes 





The general design shows unmistakably the influence of the northern French school 

of painting, at the end of the 14 century. Unfortunately there is not room enough 
to discuss at length the artistic connection between the still existing Arras tapestries 
[legend of Jourdain de Blaye (pl. 189), scenes from a contemporaneous novel (pl. 190, 
493), crucifixion (pl. 192), resurrection (Paris, Louvre museum)] with the miniatures 
of Haincelin of Hagenau, of Andrew Beauneveu, of Jaquemart de Hesdin and their 
successors. WVe find the same flow of line, the soft modelling of the transition tints, 
so favorable to the peculiarities of tapestry-weaving, being easy to reproduce by help 
of long and close-set hatches, the narrow hawk-nosed faces. The treatment of hair 
and beard shows the characteristic technique, first seen in the rendering of water. 
The slightly wavy hair hanging down in loose simple masses, shines in almost silky 
softness. 
_ A characteristic of Arras is the preference for rich architectural designs. The manner, 
In which the sky is worked in, is an unmistakable sign of Arras manufacture. The 
light- and dark-blue stripes set parallel to the chain are kept to-gether by strongly 
marked hatches. 

The tapestry-hangings, dating from the second third of the 15% century show a 
marked resemblance to the works of Tournai. This fact is not merely to be explained 
by the close connection of the pattern-painters studios in both places; when the rapid 
decay of the Arras manufactories set in — about 1440 — the weavers probably emi- 
grated over to more fortunate Tournai in great numbers. Some typical Arras symptoms 
in the Tournai tapestries, such as the agaric rocks, with stems sprouting from them, 
after the fashion of branches, the treatment of the grass and several purely technical 
peculiarities, can hardly be otherwise explained. 





54 


The Tournai bishopric. 


Tournau 


The tapestry-weaving in Tournai, like that of Arras and Valenciennes dates back to 
the 13 century and to earlier times. 

The accidental mention of the „tapisseur” Philippron de Bruges or „li tapissieres” 
Jakemes Campions in documents of the last decade of the 13% century cannot be 
construed so as to mean, that no tapestry-weaving had taken place in earlier times. 

In the same manner as the Arras picture-tapestry-manufacture is mainly confined 
to simple articles of daily use till princely ostentation begins to fill the treasuries with 
precious tapestries, interwoven with threads of gold, thus Tournai also has to wait 
till her merchants discover this new source of wealth, by which the former management 
of the workrooms after the easy-going fashion of the corporations was lost in the 
busy movement of ambitious endeavour after the highest achievement. 

If we compare the Tournai manner of transacting business with the merely com- 
mercial habits of Arras, where the proprietors of weaver’s work-rooms are only given 
independence and freedom of action in the latest times, we find a far brighter mood 
in Tournai. 

Till about the middle of the 15% century the merchant remained at the helm, 
in spite of all strivings after liberty. Probably most of the proprietors of the 
large Tournai studios rose from the old, distinguished gilda mercatorum, whose 
members however preferred to be enrolled in one or another of the gilds, not 
merely as a matter of form, but so as to be able to personally superintend the 
manufactories and, in case of large orders, to make their less fortunate colleagues 
work for them. 

The first large order was given in the year 1446, as far as we are able to form an 
opinion from the documentary evidence at our disposal. The contract, which duke 
Philip the Kind caused to be made with Jehanne Pottequin, the widow of the weaver 
Jehan Baubrée is the more interesting from the fact that it refers to the supplementary 
tapestries for the series of the „chambre de verdure ouvrée de plusieurs personnaiges 
et devises d’enfans allant a l’&cole”, which had been bought from the well-known 
Arras merchant Willaume au Vaissel. The description refers to figure representations, 
children gomg to school, who by their slates, books and such things are very clearly 
defined against a background strewn with bunches of flowers. This kind of tapestry- 
hanging had lost nothing of it’s popularity as late as the beginning of the 16% century 
(pl. 194, 195). 

In 1449 mention is made of one of the most renowned series of the late middle- 
ages, the story of Gideon, the Old Testament patron of the „golden fleece”. 

The workers are Robert Dary and Jehan de l’Ortie, „marchans ouvriers de tapisserye”. 

Pasquier Grenier, „marcheteur”, i. e. basselissier, owns a most important manufactory. 
In the second half of the 15% century his tapestry-trade gained very largely in extent. 
In 1459 the duke of Burgundy bought a Story of Alexander from the master, which 


5D 


TS 0, u Sur an 





measures, all in all 708°/, square ells, is worked in gold, silver, silks and wool, and 
was paid 5000 golden thalers. The two tapestry-hangings in the Palazzo Doria 
evidently belong to this series (pl. 201). In 1464 Pasquier Grenier, alluded to this 
time as „marchand de tapisseries”, receives from the secretary of Philip the Kind the 
sum of 4000 golden ducats for a series depicting the Passion of Christ and a wood- 
cutter series. For the first time we have documentary evidence of the existence of 
the splendid type of field-labourer- and wood-cutter-tapestries in Tournai. Several 
pieces of this kind have been handed down to us, the first of which are the three 
tapestry-hangings in the Paris Musée des Arts décoratifs (pl. 234). 

The tapestry-suite for two rooms which were bought up by master Grenier on 
October 19% 1466 belong to the same species. One of these rooms represents an 
orange grove with ladies and gentlemen walking about in it, the other again depicts 
the subject of the wood-cutters. 

In the year 1462 Pasquier’s establishment received several large orders. VVhile the 
story of Esther was lost in course of time — the Nancy fragments can hardly be said 
to belong to the Grenier tapestries — several fragments of the said series, the 
«Chevalier au cygne” were by a lucky chance preserved, and found a resting-place in 
the church of St. Catherine at Krakow and im the Austrian Museum of Arts and 
Industries (Vienna) (pl. 200). 

In 1472 the „Vrije” of Bruges ordered an extensive Troy series from master Grenier, 
which was to be presented to Charles the Brave as a gift of the „free office”. After 
the break-down of 1477 all intercourse with the house of Burgundy ceased for the 
time being. The business of Pasquier Grenier, who was nothing but a merchant 
during the last years of his life, is continued by his sons John and Anthony. 

We have no certain proof, that Jehan Grenier completed even a single one of the 
gigantic series, for which he received the orders, in his own workshop. In 1504 the 
archduke Philippe le Bel bought a series „a la maniére de Portugal et de ’Indye”, 
containing 436 square ells and which was paid for by 748 Livres 16 Sols. The series 
celebrates the commercial enterprise of the Portuguese in the East Indies, which kept 
the world in suspense at the beginning of the 16 century. The greatest stress is naturally 
laid upon the strange animals, the giraffes, leopards, elephants and the depicting of 
lively boat-scenes. 

The three hangings in possession of the Marquis de Dreux-Brezé are in all probability 
pieces of this series. Repetitions are to be found in the Victoria and Albert Museum 
(London), in the National Museum of Stockholm, in the magazines of the Berlin Art 
dealer Altkunst (pl. 227) in the former Rita Lydig collection (pl. 226) and in the 
former Pierpoint Morgan collection. The story of the banquet — six tapestries — the 
pictorial representation of the well-known allegorical-medical morality, which Philippe 
le Bel bought before his last journey to Spain (1505) has heen preserved in several 
versions (pl. 233). The most generally known is the one in the town museum at 
Nancy. 

The extensive purchases, which Philippe le Bel made from Jehan Grenier, are 
completed by the purchase of six large Turkish knotted carpets and of two sets of 
room tapestries, the subjects of which were taken from the life of the vintagers and 
wood-cutters. This selling of Oriental carpets is a further proof, that Jehan Grenier 
was no tapestry-worker, but merely a merchant on a large scale. Rich stuffs, mter- 
woven with gold thread form another extensive department of his business. 

On searching through the memorandum books of the time for the tapestry-manu 
actories, in which the series, sold by Jehan and Antoine Grenier and probably also 
a great many of the series, ascribed to Pasquier, were produced, we are first of all 
struck by the studios of the Descamaing and of Desreumaulx. Philippe Descamaing 
was living till about the year 1455, Pierart Descamaing, Jehan Descamaing, Willeaume 
Descamaing, Willeme Desreumaulx worked in the seventies and eighties of the 
45% century. They are all of them „marcheteurs”, i. e. workers on the loom of the 


56 


a0 ur tn. fa N 





low warp. No less extensive are the studios of Adrian Binois, of Jehan de Bacre, of 
Hacquinet le Scellier — who stands in close connection to Oudenarde — and of Jacob 
de PArcq. The leading firms at the beginning of the 16 century are the establish- 
ments of Clement Sarrasin (altar-tapestries, story of Hercules, story of Moses) and of 
Arnold Poissonnier. 

In 1510 the emperor Maximilian bought the series of Caesar’s Triumphs from Arnold 
Poissonnier. There was also sold a set of room tapestries depicting figures and wild 
animals „a la maniére de Calcut”, probably a repetition of the tapestry series mentioned 
in 1504 „a la maniére de Portugal et de P’Indye”. It will naturally occur to one, that 
Poissonnier was also the producer of the first series, especially as the will of 1522 
mentions another reproduction. 

The third series, which Poissonnier sold to the German emperor in 1516 is a 
hunting-suite of some 299 square ells of surface. Other works produced in the master’s 
studio are a story of Judith, the Story of the Caravan, the „Histoire de Carrabarra 
dite des Egiptiens” (pl. 228, 229), altar tapestries, the Journey to India, the story of 
Hercules, and numerous altar tapestries and verdures. Arnold Poissonnier died on 
July 2°¢ or 3°X in 1522. The master was a burgher of Tournai and Oudenarde. He 
maintained large business establishments in both places. 

One symptom is peculiarly striking, the constant recurrence of the same subjects. 
While the tapestry-workers of Brussels, working in accordance to the taste of the 
time, choose a variety of episodes from history, ancient and modern, from the Bible, 
or depict mythological and allegorical scenes, the Tournaj studios cling to old-fashioned 
suites designed several decades ago. Except the verdures, the hunting tapestries and 
the Gideon-series, made for a special occasion, we know of no other productions 
during the space of an entire century, except the Alexander series, the Adoration of 
the Magi, the Passion of Christ, the story of Esther, the Knight of the Swan series, 
the Cité des Dames, the Troy series, the story of Nebucadnezar, the story of Joseph, 
the story of Thebes, the oft repeated scenes of the banquet, the India, Caravan and 
Epyptian series, the woodcutter and vintagers series, the triumphs of Caesar, the story 
of Judith, the story of Hercules and the Twelve Months. The far greater number of 
these was produced before 1515. Until the middle of the 16% century not quite ten 
designs are continually bemg recopied. The triumph of Caesar, the India series, the 
Judith series and the story of Hercules, besides the banquet series, form the standing 
themes in the first half of the 16 century. 

This fact naturally leads to the conclusion, that there was a great want of proper 
patterns. The use of old cartoons was not an efficient means of raising the sale, that 
had become slack. The flourishing condition of the Brussels studios, which were 
strongly supported by a town council, always ready to grant as many privileges, as 
they might require, had the effect of completely maiming the once leading large 
manufactories of Tournai. The second half of the 16 century found but few large 
manufactories still remaining in Tournai. 

The principal studio is that of Jehan Martin the younger, to whom Charles of Croy, 
the bishop of Tournai, in 1554 entrusted the Stories of Jacob, Esau and Joseph (pl. 198). 
These tapestries show the ,fil mol” so often mentioned in the contracts, the rough 
warp with the soft, fibrous wool of unequal thickness. Probably the Abraham tapestry 
in the town museum, showing the mark of Tournai, the white tower on the blue 
working-edge, was produced in the same manufactory (pl. 199). 4 

The tapestry-working establishments which crop up here and there in the 17 and 
18* century (Michel Vandebek 1598—1606; Jacob de Cassel 1598—1616, Philippe de 
Cassel 1616—1635, Frans de Pannemaker 1670, Johann Oedins 1670—1677, Stephen 
Oedins 1677—1700, Philippe Behagle 1678—1684, Franz and Jan Baert 1692—1712) are 
not capable of reconquering for Tournai her old fame in the art of picture weaving. 

In the chapter, treating of the Arras studios, the fundamental principles, characte- 
ristic of the manufactories of Artois have been superficially indicated. Attention was 


57 


D350) GE A ee. 





drawn to the difficulties, which present themselves, at least as a far as concerns the 
second half of the 15 century, to a clearly defined separation of the different work- 
room peculiarities of Arras and Tournai. These difficulties are founded on the continual 
intercourse of both towns. Arras pattern painters work for Tournai and vice versa. 
With the decay of the old capital of Artois a stream of picture workers flows accross 
to more fortunate Tournai. 

Both large manufacturing centers, Arras and Tournai, are equally fertilized by the 
miniatures cycle of northern France and the southern hereditary lands. In both we 
find the typical lateral ending of the picture tapestry by thick bushes carried up to 
a certain hight in the design and resembling queerly kneaded rocks; both have the same 
preference for architectural details and for a luxurious decoration of the interiors. The 
details are different. The modelling is somewhat mechanically done, according to a 
given pattern. In the tapestry depicting the Knight of the Swan, the old hermit’s 
hair hangs down like lumps of cotton-wool, and the hair of the youthful Elias, the 
future Knight of the Swan, is treated accordingly (pl. 200). 

While the rounded, fern-like or heart shaped leafage is repeated by both manu- 
factories, almost in the identical forms, the treatment of the stem is different. The 
mechanical generalization, a natural consequence of producing too rapidly and on a 
large scale, changes the phantastic, gnarled shapes of the Arras manufactures into forms 
resembling’ the appearance of shave-grass; the flaring water of the Blaye tapestry is 
replaced by so-called naturalistic renderings, shapes like ninepins, set one on the top 
of the other, or forms reminding the beholder of twirling sticks and pads of cotton 
wool. The architecture is completely bereft of it’s broad sweeping lines, the effect 
of the slender Tournai tower with the long loopholes is not always a fortunate one. 

The gentle expression of the faces is lost in an air of fatigue and indifference. 

The bunches of flowers, planted at regular distances from each other and drawn 
up in lines like soldiers, are typical for the Tournai tapestries. Even in the later times 
of the manufactories they are, by their regularity, an unmistakable token of the pro- 
ductions of the episcopal town. The two large Alexander tapestries in the Palazzo 
Doria at Rome, already mentioned, are closely related to the tapestry of the Knight 
of the Swan, in regard to their style as well as in regard to their general, technical 
treatment. Doubtless they are identical with the „chambre de tapisserie de Vhistoire 
d’Alexandre” (pl. 201), aquired from Pasquier Grenier in 1459. 

The limited space at my disposal prevents any more detailed account of the series, 
which may be ascribed to Tournai and which have been most carefully considered in 
the large German edition. 

The drawing of the horses and the treatment of the richly decorated harness in the 
Alexander tapestry is of special interest. WVe find the same large-eyed race of horses, 
the same leather straps, set with jewels and pieces of metal, in one of the famous 
hunting tapestries, belonging to the duke of Devonshire. This magnificent series, con- 
sisting of four tapestry hangings was thoroughly restored a short time before the great 
war (pl. 202, 203). 

A narrow, long piece of tapestry in the museum at Passau (pl. 205) is closely related 
to one of these Devonshire tapestries, depicting the chasing of deer and duck shooting. 
Probably this long band, formed part of a large tapestried room. The hanging in the 
possession of the count of Valencia, with the lovers standing in front of a tent, held 
by angels, also shows some signs reminding us of the studio in which the „deer chase” 
was produced (pl. 207). 

Various fragments of tapestry-hangings with hunting scenes in the town hall at 
Ratisbon show a marked resemblance to the Passau hanging. This resemblance, con- 
sisting in the rendering of the details, in the treatment of the plants and foliage and 
in the reproduction of the brocade patterns is quite unmistakeable. 

The fragmentary Sacrament-tapestries, a present of Pierpoint Morgan to the New-York 
Metropolitan Museum, range chronologically between the Passion of Zaragoza, wich 


58 


LENT A ee) a 








leans more towasds Arras, and the tapestry of the Knight of the Swan. The director 
Dr. Breck very kindly put some excellent photographs at my disposal, which enable 
us to judge more clearly of these works (pl. 208, 209). 

These tapestries seem to be repetitions of the Sacrament series, which Philip the 
Kind bought at Bruges about 1430—1440 and paid 317 livres for. 

The splendid tapestry in the Historical Museum at Berne, representing the history 
of Trajan and Herkinbald, the four large Caesar tapestries an the Adoration of the Magi 
(pl. 210, 244) bear the typical Tournai stamp. 

Three tapestries of the „Vengeance de Nostre Seigneur” stand in close connection 
with the Caesar series. The fragment of the Metropolitan-Museum at New-York 
(pl. 212) — already known for some time — ist most fortunately supplemented 
by two fragments, which were brought to light in the Raoul Heilbronner auction 
(June 2274 — 2374 1921, pl. 213, 214). 

A fragment in the Austrian Museum of Arts and Industries (pl. 215) — the imperial 
ambassador, presenting his master’s letter to Pilate — belongs to the same sphere of 
legends and shows in a specially classic manner the mark of Tournai manufacture. 

Between the Alexander series and the Trajan tapestry stands the fragment of the 
battle of Ronceveaux, which passed from the Somzée collection into the possession of 
the Brussels Museum (pl. 216). The way in which the writing is done, coincides in 
the main with the rendering of the letters on the scrolls of the Caesar tapestries, even 
the small decorative signs of conclusion at the end of the lines are identical. 

The „Exposiciön celebrada en la antigua Lonja de la Ciudad” at Zaragoza, of October 
1917 was reviewed in a short article by Jose Maria Monserrat and Manuel Abizanda. 
Of several Tournai tapestry-pictures there are unfortunately only insufficient photo- 
graphic reproductions to be had. It is extremely probable, that the two tapestries of 
the La Seo cathedral, depicting the legend of the Finding of the Cross belong to 
Tournai. The same can be said of the Jephtha tapestry, likewise at La Seo, which 
in some respects bears a marked resemblance to the Alexander-tapestry, by it’s rich and 
elegant architectures, it’s luxurious brocade gowns, while in others it also resembles the 
battle of Ronceveaux, by the groups of fighting men and by the disposition ofthe letters. 

The two large tapestries in the cathedral of Reims, representing episodes from the 
history of the French king Clovis, is related to the Jephtha tapestry. 

The origin of the tapestry series of eight hangings, containing episodes from the 
life of St. Peter, in the cathedral at Beauvais and in the Cluny museum at Paris, must 
also be traced back to Tournai (pl. 217) likewise the Miraculous Feeding of the Five 
Thousand (pl. 218) and the „Venus enthroned in the Court of Love” at the Paris Union 
des Arts décoratifs. 

The large Troy- (pl. 220, 221) and Esthergroup (pl. 222, 223), to which must be 
added the Hercules tapestry (pl. 224), the story of Brutus (pl. 225) and the Passion of 
Christ, in the Brussels Musées du Cinquantenaire (pl. 249), are quite different from the 
tapestry-hangings, mentioned up till now. Unfortunately, there is hardly enough room 
here to enter on any lengthy argument about the style of this work. Except the 
painter’s signatures JAN RAON (Jan van Room) and VAN OIRLE (Valentin van Orley), 
which unmistakeable point to the Brussels studio Van Roome-Orley, the treatment of 
the details, especially of the bizarre accoutrements, the rendering of the heads, the 
detailing of the sky, the technique of the rich brocade gowns, are all entirely opposed 
to the essential character of the contemporaneous Tournai tapestries. Probably Brussels 
was the place of origin. 

The further development of the Tournai tapestries is illustrated, by the India series 
(pl. 226, 227) and the Carrabarra story, in the Kaiser Friedrich Museum at Magde- 
burg (pl. 228). 

An unusually fine piece from the art treasures of America, belongs to the latter 
series (pl. 229). Dr. W. R. Valentiner was kind enough to place the photographs at 
my disposal. 


59 


To S00 Gs Say 





The characteristic border of the Dreux-Brezé series, which seems to have been a 
peculiarity of Poissonnier’s establishment, gives us a hint as to the assignation of the 
other series. 

There is a larger picture-tapestry in the Paris Cluny museum divided into two scenes, 
whose meaning I cannot at present decipher, by a richly ornamented column, borne 
by a small kneeling figure (pl. 230). The upper characteristic celandine and thistle- 
down border, as well as the framework of leaves, correspond to the setting of the 
Dreux-Brezé-series. 

A tapestry of the Judith- and Holofernes-series sold in 1901 at the auction of the 
Somzée collection, dates from the same time (pl. 231). 

The story of chaste Susanna, in possession of Mr. P. Marmottan at Paris forms the 
link between the Dreux-Brezé-series and the Somzée Judith-tapestry. The three wood- 
cutter tapestries in the Paris Musée des Arts decoratifs (pl. 234) have already been 
mentioned. 

The magnificent tapestry-hanging in the London Victoria and Albert Museum (pl. 235) 
combines motives from the life of wood-cutters and shepherds. Very charming are 
the representations on a second tapestry-hanging, likewise in the London collection, 
the young squire is out shooting,.shepherds and shepherdesses while away the time, 
by bathing and playing games (pl. 236). 

A typical Tournai work, of the simple current kind is represented by a smaller 
vintager-tapestry, dating from the second decade of the 16 century (pl. 237). 

A vintager fragment from the Emile Gaillard collection (June 8**—16™ 1904) is of 
much earlier date and far nobler in the general treatment and in style. 

A tapestry in possession of the Paris Art dealers Jacques Seligmann, even surpassing 
the tapestry of the Gaillard collection in the fineness of the general treatment, belonged 
to a similar series. Pl. 238, which I owe to the kindness of the proprietor, renders 
all further explanation superfluous. 

The tapestry depicting pastoral- and country-life in the George Blumenthal collection 
is equal to this quality (pl. 239). 

A remarkably fine „Bergeries“ series of five tapestry hangings was brought into the 
New-York market a few years ago. Dr. W. R. Valentiner kindly put the photographs 
at my disposal (pl. 240—242). 

How deeply the wood-cutter and the pastoral scenes were ingrained in the tapestry- 
workers and pattern painters of Tournai is shown by the frequent use of this char- 
ming motive even in religious subjects (pl. 243). 

Less frequent are the tapestries depicting savages, which are repeatedly mentioned 
in the history of the Tournai tapestry-work. The finest example of this kind is in 
the possession of the German National Museum at Nurnberg (pl. 249). 

The characteristic of the Tournai verdures — the flowering plants drawn up in regular 
lines — has already been shortly alluded to. All I can do here, is to refer the reader 
to the illustrations. In the 16 century we find the Tournai manufactories and the 
Oudenarde masters continually working together. It is difficult to decide, if the 
roughly worked verdures with garden backgrounds were produced at Oudenarde or 
at Tournai. In all probability Oudenarde had the lion’s share in reducing the old 
Tournai verdure patterns to a mere mechanical reproduction of the old scheme. 





60 4 


The bishopric of Cambrai. 


Ca m bra i. 


The tapestry-workers studios at the time of bishop John VI. of Burgundy (Noél de 
Béry) are without special interest. John Baert conducted a studio in the time from 
17241742, his son John Jacob Baert continued his fathers business (1742—1769), the 
manufactory was closed under the grandson John Baptist Baert in 1790. The studio 
produced furniture tapestries and verdures. 


61 















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The duchy of Brabant. 


Bier $0 7s ese een. Ss: 


The 16th century. 


The limited space at my disposal forces me shortly to enumerate the most important 
manufactories in programmatic order. (German edition page 293—446). 

Brabant tapestries are mentioned in an inventory of Philip the Kind of Burgundy 
(1420), in 1446 the tapestry weavers (legwerkers) separated from the weavers for the 
sake of forming into an independent corporation. 

Jehan de Haze, 1466. Verdures showing the arms of Philip the Kind of 
Burgundy. 41469, 1471, series not specially denominated, to the duke of Burgundy. 

Jan de Rave, 1467. History of Hannibal. 

Gilles van den Putte, 1477. The Last Supper. 

Joris de Liere, 1434. Caparisons for sumpter-mules, bearmg the arms of the 
duke of Burgundy. 

Michel Nyettens, 1480/81. Millefleurs-tapestries. 

Jehan van Brugge (Dupont), 1497, 1499, 1501. Armorial tapestries. 

Pieter van Aelst, 1497. Tapestry series with wood-cutters, shepherds and 
shepherdesses (pl. 257). In 1502 Aelst, one of the most well-known men among the 
tapestry-weavers of Brussels at the beginning of the 16% century was, as successor of 
Mathias Guerlas, invested with the dignity of a „varlet de chambre et tapissier du 
Roi” (Philippe le Bel, duke of Brabant, king of Spain). 1502 Story of the Madonna. 
Before 1500 the Passion at Angers (pl. 258, 259). About 1510 The Passion of the Lord 
at Madrid (pl. 260). 1510 series of the Descent of the Spanish Kings”. 1515—1532 
several repetitions of the „Deeds of the Apostles” (pl. 261—263, 397): Rome, Zaragoza, 
Berlin. 1522, story of Troy. India series, story of Noah. Verdures. 1520—1525 „Bed 
of Leo X.” (Garlands and cupids playing) (pl. 99), Grotesques. The Life of the Lord 
(„arazzi della scuola nuova”) (pl. 264). Van Aelst was involved in pecuniary difficulties. 
Mortgage transactions with the Augsburg banking firm Jacob Fugger and Nephews 
and the Munich firm Sebastian Ligsalz, Balthasar Schrenk & Co. (story of Bathseba, 
Life of John the Baptist). Agostino Turchi, Giovanni Gabriele Bonconte and Bernardino 
de Minutoli, are business-partners of master Pieter’s. 1526, The Lord’s Passion (repetition) 
a third series in the cathedral at Trient. 

Jehan Artsteene, 1527. Verdures and figure-tapestries. 

Gabriel van der Tommen, 1520. Story of Perseus (pl. 266). Hunts, verdures, 
pastoral series. 1522 caparisons for sumpter mules (arms of the emperor Charles V.). 

Pieter de Pannemaker the elder. Before 1517 story of David, to the duke 
of Jülich and Berg, John III. 1517 repetition of the series for the emperor Maximilian 
(pl. 267, 268). 1520 The Saviour on the Mount of Olives, The Road to Calvary. 1531 
Last Supper. 41530, 1531 battle of Pavia (pl. 376), 1534, 120 caparisons for sumpter 


63 


Beer Sas. (eee ane TS 








mules (arms of Charles V.). About 1525 homage scene (owner Exc. von Kühlmann) 
About 4530 story of Jacob (owner: count Thiele-Winkler). Before 1523 so called 
throne tapestries of the emperor Charles V. (pl. 124, 269, 270). Pieter de Pannemaker 
the younger continues the manufactory. 

1544 William (Ghiliam, Willem) de Pannemaker. 1544, 1553 works of 
repair. 1548—1549 conquest of Tunis (pl. 271) after designs by Jan Vermeyen. About 
1550 several Vertumnus and Pomona series. 1558 story of Agamemnon and Psyche 
(Venus, pl. 98). 1558 series with the arms of Pedro la Gasca. 1566, 1567 several 
Noah series, 1568 Deeds of the duke of Alba. Other series still existing: Seven deadly 
sins (Madrid, Vienna, pl. 79). Apocalypse (Madrid, pl. 128, 129); The assignation of 
Ovid’s fables (pl. 106) and the story of Abraham (Madrid, Vienna, pl. 272), seems doubtful. 
The trademark of the master is seen besides in the two first named series, in the: 
childrens games (pl. 100), verdures (Schloss Museum at Berlin), verdures with the arms 
of the emperor Charles V. (colour plate), garden vedutes (Vienna, pl. 274), Story of 
Herse (Barcelona, New-York (pl. 275), Madrid). In 1578 Willem de Pannemaker is 
nominated steward of the royal castle „de Sassignies”. 

Frans Geubels. Busy since 1540. 1544 story of Simson to King Philip II. About 
1570 triumph of Scipio to king Henry Il. of France. Series still existing: The seven 
virtues (Vienna, pl. 86), Romulus and Remus series (Vienna), Death of the First born 
in Egypt (Paris, auction July 24 1891), episodes from the Old Testament (Munich), 
Story of Troy (Munich), Triumphs of the Gods (Paris), story of Alexander the Great 
(two repetitions in German private possession, a third in Rome). The famous Chases of 
Maximilian (Paris) probably come from the studio of Jan Gheeteels. The assig- 
nation of the story of St. Marc (Venice) and of Petrarch’s triumphs (Barcelona) to Frans 
Geubels also seems doubtful. 

About 1585 Jacob Geubels takes charge of the studio. 

1598: story of Hannibal, tapestries with grotesques, story of Joseph, story of Diana, 
pergola tapestries. Series still existing: story of Jacob and Esau (Vatican), story of 
Simson, several mythological and historical series, the Nine Heroes (in the market, 
pl. 82, 83), deeds of C. Julius Caesar (Nürnberg, Munich, pl. 278, 444), story of Troy 
(Berlin market). Jacob Geubels dies before 1605. His widow Catherine van den 
Eynde and her son Jacob II Geubel carrys on the business till 1629 and later. She 
frequently worked in conjunction with Jan Raes. 

1605: story of Joshua, story of Troy. 1607 Vertumnus and Pomona, Paris and Helena, 
destruction of Troy, Garden tapestries, story of Cleopatra. Widow Geubels conjointly 
with Jan Raes: 1615 story of Diana, life of Noah. Series still existing: story of Cleo- 
patra (Berlin art trade), the Nine Heroes (Berlin and Stockholm art trade), story of 
Scipio (Genoa, New-York), mythological scene (pl. 277, Berlin art trade). 

Jan Bauldouyn. 1547. Fructus Belli. 

Willem de Kempenere. 1534 story of „Ypesina”. Life of Jacob. 1539 deeds 
of Hercules. Still busy in 1545. 

Jan Dermoyen. 1545 Jesse series. 

Jan van Tiegen flies from Brussels about 4566 on account of his religious 
creed, he is busy at Cologne on the Rhine and at Wesel later on. 1570 story of 
Cyrus, story of David. Existing series: story of Cyrus (Madrid, pl. 279), story of Adam 
and Ee (Munich, pl. 280), story of Moses (Vienna), deeds of the apostles (Madrid, 
Vienna). 

Anthony Leyniers. 1543 story of Romulus and Remus (French private property) 
Nicolas Leyniers is assistant of Jan van Tiegen. Jacob Leyniers: 1576 verdures, 

Jacob Tseraerts. 1587 court tapestry weaver. Numerous grotesques, garden and 
pergola tapestries (Madrid). 

Frans Sweerts. 1594 story of Troy, verdures. 1613 story of Joshua, 1614 life of 
St. Paul, story of Scipio and Hannibal. Leading weavers of the 16 century are moreover: 
Leo van den Hecke, Nicolas van den Hove, Hubrecht de Maecht, Martin Reymbout, 


64 


pays. Un ase esemee nl! is 





Amant Vraucx, the family van der Goes, Michel de Vos, Frans Raes, Jan Mattens, 
Frans Tous, Nicolaes van der Sinnen, Corneille Tseraerts, Frans Sweerts the younger, 
Hermann Vermeiren, Willem d’Armoyen, Jehan Rigau, Anton van Herberghen, Jacob 
de Carmes, Mare Cretif, Andrew Mattens, Hubrecht van der Moten, George Wezeler, 
Mathias Guerlas, Hector Vueyns and others. Details would lead too far. 


The 17th and the 18th century. 


Martin Reymbouts (Reynbouts). 1576 story of Troy, story of Cyrus. 1609 
conjointly with Geraert Bernard: Petrarch’s triumphs. 1614 Vertumnus and Pomona 
(two or three repetitions) 1614 a (third or fourth) repetition of the Vertumnus and 
Pomona series. 1615 story of Troy. The chief work of Reymbouts are the battles of 
the archduke Albert (pl. 281). Martin Reynbouts dies before 1619. Existing series: Deeds 
of Scipio (Madrid), Story of Solomon (Bruchsal), life of Moses (Chartres), Fructus Belli 
(Vienna) (pl. 282), story of Jacob (Vienna) (pl. 283), Europa on the bull (Vienna). In 
the master’s legacy there was found: Deeds of Ferdinand Cortez, life of the apostle 
Paul, story of Joshua, story of Troy, story of David, deeds of Cyrus, story of Hannibal, 
pergola series and verdures. The battle of Alexander was found again in the legacy 
of Edward Detaille. 

Henry Reydams the elder, privileged 1640. Conjointly with Everaert 
Leyniers 1644 verdures, 1652, manége series after Jordaens (pl. 284). Existing series: 
scenes from country life, after Jordaens (Vienna, many repetitions in the art trade. 
(pl. 286), story of Moses (Douai, Vienna), deeds of Scipio (Vienna, pl. 287), Venice, 
Munich (pl. 285), story of Judith (Washington, Brussels, Reims), the Elements, Seasons 
and Times of the day (Stockholm). Henry Reydeams the elder dies 1669. The 
business is carried on by Henry Reydamsthe younger. 1676 story of St. Norbert 
(abbey of Tongerloo), 1677 verdures (landscapes), 1680 armorial tapestries (Madrid). 
End of the 17 century: story of Telemach (?) (Brussels), the repast of Midas (Brussels), 
story of Diana (Stuttgart) (pl. 288). In 1712 Henry Reydams, Urban and 
Daniel Leyniers concern themselves in one commercial establishment, which 
exists till 1734. VVorks of the united firms: The famous men after Plutarch (cartoons 
by Victor-Honoré Janssens), fables after Ovid (cartoons by Charles de Lafosse), story 
of Don Quijote (cartoons by Jan van Orley and Augustin Coppens) (pl. 290), rural 
festivities (cartoons by Ignaz d’ Hondt), „Fins Teniers” (cartoons by Jan van Orley 
and Augustin Coppens), incidents from the history of the houses of Burgundy and of 
Habsburg (town-hall at Brussels, cartoons by Victor-Honoré Janssens), Triumphs of 
the Gods (cartoons by Jan van Orley and Augustin Coppens) (pl. 289, 291, 292, 302), 
Deeds of the Apostles (Essen, art trade, Norfolk-House London), story of Joseph (car- 
toons by Jan van Orley), story of Telemach (cartoons by Jan van Orley, Vienna) (pl. 
293), Four Seasons (cartoons by Godefroid Masse), grotesques (designs by Salviati), 
Jupiter’s love-affairs (cartoons by Jacob van Helmont), grotesques (cartoons by Philip 
de Hem and Michel Simons), copies after pictures by Rubens and Santerre. Henry 
Reydams dies on January 26 1719, he is replaced by Jacob Ignaz Reydams, who in 
1743 moves to Douai. 

Everaert Leyniers (business partner of the older Henry Reydams). Story of 
Scipio (Vienna, Paris, Munich). Armorial tapestries (Time enchained by Love), Judith 
series in several repetitions. Twelve Months (joint work of E. Leyniers and of Ae gi- 
dius van Habbecke. (Vienna, Stockholm, pl. 294), Night (Vienna). 

Jan Leyniers (son of Everaert Leyniers), privileged 1661. Story of Meleager, 
series with the arms of Philip of Orléans, series of Moses, of Cleopatra, the liberal 
Arts, of Clovis and the Dawn of the Human Race. Joannes Valdor, van der Heyden 


2 65 


Br eu Ms Ws ee as 





and Lue Achtschellinck paint for this manufactory. See pl. 295, 296. Single tapestries 
of the Meleager series in the Berlin Art Trade, complete series at Stockholm. G. L. Hunter 
reproduces a hanging of the Alexander series in his „Tapestries” (p. 331). Jan Leyniers 
dies 1686. 

Gilles Leyniers, brother of Jan: Twelve Months, Hunting series. 

Daniel Leyniers and Urban Leyniers (} 1747) members of the Reydams- 
Leyniers concern. 

Daniel Leyniers jun. (son of Urban Leyniers): scenes from soldier life after 
Hyacinth de la Pegna (Vienna) (pl. 298). Daniel frequently works together with 
Pieter van der Borght: „Fins Teniers” (Vienna) (pl. 299). Daniel Leyniers produced 
in 1746: story of Jupiter, Month- and seasons-series, Ovid’s Metamorphoses, story 
of Don Quijote, Triumphs of the Gods, story of Moses. Wall hangings after 
Teniers from the studio of Daniel Leyniers are frequent (London, Victoria and Albert 
Museum, auction Roudillon 1892, Art Trade) See pl. 299, 300. Daniel Leyniers closed 
the studio in 1767/68. 


Leo van den Hecke. 1576 Story of David, Story of Abraham, Forest tapestries, 
Story of Ahab. Existing series: Story of Caesar (Rome), Episodes from Pastoral Life 
(Vienna) (pl. 303). 

Jan van den Hecke (7 1633): Alexander series (Vienna), Story of Moses (German 
private possession). 

Frans van den Hecke, 1640, Doyen. ‘Triumph of the Eucharist after Rubens 
(Madrid, formerly in the collection Berwick-Alba, Vatican, Geneva). Alexander series 
(Art Trade). Story of Decius Mus after Rubens (Vienna, German private possession 
(pl. 304), Stockholm, Madrid, Rome). Life of Man (Madrid) (pl. 176), Rome, Vienna, 
German private possession (pl. 177). Love of Man (Madrid) (pl. 175), Story of Simson 
(Madrid). Story of the first Man and Woman (Madrid, Salzburg, Essen), The Elements 
(Rome), Story of Jacob (Rome). 

Jan Frans van den Hecke (son of Frans van den Hecke) 1662 Doyen. Triumph 
of the Eucharist (Abbeville, Art Trade, former Berwick-Alba Collection), Alexander 
series after Lebrun (former Berwick-Alba Collection, Francfort o./M., Toledo, Würz- 
burg (pl. 306), Paris). The Elements (Wurzburg) (pl. 307) Seasons series (Art Trade 
(pl. 166, 167) Munich (pl. 308, 309) Vienna) Story of Apollon (London, Essen.) 

Peter van den Hecke. (Son of Frans van den Hecke), 1703, 4714 Doyen. The 
store-book of the firm enters: Story of Psyche after designs by Jan van Orley (Peters- 
burg). The Elements. The Four Seasons. The Joys of the World. Series after Teniers 
(castle of Pau). See plates 311—315. Alexander series (Vienna, Ghent), Story of Don 
Quijote (Paris Art Trade, Vienna). Famous Women (Ghent), Story of Rome (German 
Art Trade). Pieter van den Hecke dies in 1752. 


Jan Raes sen. frequently works together with Catherine van den Eynde. 1614 
Story of Troy (former Berwick-Alba Collection), Deeds of the Apostles (1620) (former 
Berwick-Alba Collection, Madrid, Brussels). Story of Decius Mus (pl. 178, 317, Madrid, 
German private possession, Vienna), contracts for delivery from the years 1616, 1625, 
1631. Gathering of Manna and Last Supper (Brussels), Chase of the Panther (Paris 
Art Trade). The nine Heroes (German and Swedish Art Trade), the Story of Noah 
(German Art Trade, (pl. 316). 


Frans Raes (son of Jan Raes). Alexander series (Paris), Hunting series (Paris Art 
Trade). Raes-Orlofs: Hunting series (pl. 318). 

Jan Raes jun. (son of Jan Raes). He frequently works together with Frans van den 
Hecke (Life of Man, Love of Man) Story of Theseus (pl. 172, 349). Hunting series 
(former Collection Berwick-Alba). The younger Jan Raes dies about 1637. 


Jan Raet is privileged 1629, 1644 the firm became insolvent: Story of Dido (Toledo), 
Park (former Collection Berwick-Alba). 


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Jan Aerts 1633, 1635 Doyen; story of the dawn of the Human Race (Salzburg), 
Verdures. 

Frans van Maelsack, is privileged 1629. Persecution of the Early Christians (pl. 320). 

Bernard van Brustom, is privileged 1629. Story of Cyrus. (Sweden), story of 
Hercules (pl. 321). 

Jacob Cordys is privileged 1646. Verdures (Sweden), the Proverbs after Jordaens 
(Prince Schwarzenberg). 

Pieter van den Berghen is privileged 1651. Dido and Aeneas (Vienna). 

Cornelius (1580—1640) and Henry Martens, story of Scipio (Madrid). Story of 
Joshua (Vienna, pl. 322). Story of Zenobia (Vienna). Deeds of the Apostles (German 
Art Trade, pl. 323). 

William Toens 1607. Story of Constantine. | 

Geraert Bernaerts (Bernaerd) 1608, 1609 Pergola tapestries, 1619 Forest tapestries 
with small figures. Several Pergola series in the Spanish State Collection (Madrid). 

Balduin van Beveren 1647. Series of Proverbs (Prince Schwarzenberg). Joint 
work with Jacob Cordys and Frans van Cothem. 

Jasper van den Brugge, 1658 Doyen. Dido and Aeneas series (Vienna). Story 
of Troy (former Collection Braquenié), historical episode (Rome). 

Jacob Coenot, is privileged 1690. The Four Seasons (Munich pl 324). 

Andreas van den Driesene (Dries) 1640 Doyen. Mythological-allegorical subjects 
(Vienna). Story of Diana (Vienna, German Art Trade pl. 325). 

Jan de (le) Clerck, 1636 Master. Series of the Saviour, story of Philip of Macedon 
(pl. 326), allegorical tapestry (former Collection Berwick-Alba). 

Jan de (le) Clerck dies about 1677. He is followed by his son Jerome (Jé- 
rome) le Clerck, privileged 1677, in 1703 the studio is still doing business. Deeds 
of Julius Caesar (Vienna, pl. 327), Village Festival, Skating, Game of Skittles (Munich). 
Campaign scenes after designs by Lambert de Hondt (Munich, pl. 328), Flight into 
Egypt (Munich, pl. 330). Armorial tapestry-hanging of the Visconti-Arese (Paris Art 
Trade). Armorial tapestry-hanging of the Arenbergs (Brussels). Jeröme le Clerck fre- 
quently works together with the van der Borghts, 1619. Jeröme and Peter le Clerck: 
Story of Cleopatra. About 1700: The Irish War. Campaign series, Teniers series. 
Hangings with the arms of William IIL of England (Jomt order given to Jerome le 
Clerck, van der Borght, Jan Cobus, Coenot and de Vos). 

Jan Cobus: Story of Danae, Rape of Helen (former Collection Moreau-Nelaton) 
Panels of Screens (German Art Trade). 

Erasmus de Pannemaker, 1644 to about 1680. Erasmus generally works together 
with his brother Frans. 41669, Story of Cyrus. The Founding of Rome (pl. 331) 
Verdures. 

Frans de Pannemaker and his son Andreas work in Lille 1684. 

Henry van Assche (End of the 17 century). Cleopatra series (German Art 
Trade). The Founding of Rome (Rome). He frequently works together with Daniel 
Eggermans, of whom there is a good hunting series still existing in the Austrian 
State Collection (Vienna, pl. 332). 

Jacob van Zeunen, privileged 1644. About 1655, Cyrus series. Story of Jacob 
(Vienna, former Collection Braquenié, former Collection VVauters, Cathedral of Wawel 
(pl. 333), Story of Solomon (German private possession, pl. 334). 

Josse van Zeunen made the Planet series (Vienna, pl. 335). 

Matthias Roelants (1661 Doyen) and Jories (George) Leemans (Liemans), (1655 
Doyen) frequently work together: Human Affections (Vienna, pl. 336), German private 
property, Revocation of the Edict of Nantes, signed I. LEEMANS and BoB (Milan Ex- 
hibition 1784). 

Daniel Abeloos, privileged 1663. Sacrifical scenes (former Collection de Somzée). 

Jan Parmentiers, privileged 1661. Story of Moses (Vienna, German Art Trade 
pl. 337). 


67 


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Jan Baptist Vermillion, privileged 1723. Sacrificial scene (Berlin, pl. 338). 
Forest tapestry with small figures. 

Albert Auwercx, privileged 1674. Story of Count William Raymond de Mon- 
cata (Paris private possession) after designs by Willem de Herp and Jan I. van Kessel. 
Story of the Apostle Paul (Brussels Exhibition 1905). The Forces governing the World 
(Vienna, pl. 339). Story of Diana (English private possession). Story of Moses (Toledo). 
Continent series (Austrian private possession). 

Geraert Peemans, privileged 1665. 1677 Story of Scipio. 1676 Story of Ze- 
nobia (former Collection Braquenié, Munich (pl. 340), Aubusson, Madrid). Story of 
Cleopatra (Madrid). Story of Alexander the Great (Wurzburg, pl. 344). 1673 Armorial 
hangings for the Marquez of Villa Flores, 1674 Caparisons for mules for the same 
Grandee. 41693 Month series (Vienna), The Continents (Vienna, pl. 343), Apollon, Mi- 
nerva and the Muses (Vienna, pl. 342). Story of Caesar (Narva). 

Geraertvan der Strecken, privileged 1647, father-in-law of Geraert Peemans, 
one of the most excellent weavers of Brussels, is supposed to have died in 1677. He 
frequently worked together with Jan van Leefdael (privileged 1644) and Guillam 
van Leefdael (Doyen 1669). Constantine series (Zaragoza, German private possession, 
pl. 344). The first tapestries with the Story of the Madonna (manufactory of Pierre 
Damour, Paris) likewise originate from Streckers studio (pl. 345). 1662 Story of 
Achilles after Rubens (French and Spanish private possession). Story of Scipio after 
G. Romano (Rome, pl. 346, Collection Lord Iveagh, Vienna, Venice, Castle Kethely 
(Hungary). Story of Cleopatra (Quirinal, Rome; Florence, New-York). Story of 
Meleager after Lebrun (Paris, Art Trade), Story of Diana (former Collection A. Leclercq). 
The Forces governing the World (Vienna), Series of Elements, Seasons, Months and 
Times of the Day (Stockholm, pl. 347). Armorial tapestries after Teniers. Story of 
Decius Mus (Prince Lichtenstein). : 

Marc de Vos, privileged 1663. Existing series: Story of Ceres, „Fins Teniers” 
(formerly in the castle ot Chalais), Ovid’s Metamorphoses (Stockholm, pl. 350), Verdures 
(German and French Art Trade), Story of Caesar (Collection Erlanger), Sacrificial scene 
(former Collection Berwick-Alba), Story of Telemach (Brussels Exhibition 1910, Ghent 
1913), Story of Alexander the Great after Lebrun (Schloss Meiningen, pl. 349). 

Judocus (Josse) de Vos, privileged 1705. Existing series: Episodes from the 
New Testament (cathedral of St. John at La Valetta at Malta), Venus and Adonis 
(Brussels), Campaigns of the duke of Marlborough (castle Blenheim), Alexander series 
after Lebrun (Hampton-Court-Palace), the country-seats of the Mérodes, allegorical 
tapestries with the arms of the dukes of Arenberg (Brussels). Conquest of Tunis 
(Vienna, pl. 351). Pastor Fido (Vienna, pl. 354), Twelve Months, Human Affections 
(German private possession, pl. 352), the Continents (German Art Trade), Story of 
Achilles (German private possession, pl. 353). 

Jan Frans de Vos, privileged 1719. Pastoral tapestries (German Art Trade). 

Jan Baptist de Vos (brother to Jan Frans). Campaign series (German Art Trade). 

M. Wauters (doubtful wether he was busy at Brussels, Antwerp or Rome). Dido 
and Aeneas (Vienna, Stockholm, pl. 355). 

Pieter Wauters. Manege series (Paris auction of May 17 1907). 

Jan Segers. About 1630. Landscapes (Vienna, pl. 357). 

Willem Segers. End of the 16 century. Old Testament scenes and mytho- 
logical episodes (Vienna, pl. 356). 

Nicolas van den Sande, privileged 1686. Forest landscapes (French Art Trade). 

F. Schaep. Middle of the 17% century. Baptism of Christ (Paris auction of 
May 372 1909). | 

Jacob van der Borght sen., privileged 1676. In close business connection 
with Hieronymus le Clerck. Campaign series (Munich), Pastoral series (German Art 
Trade, pl. 358), Scenes after Teniers (Vienna, pl. 359), Sacrificial scene (Vienna, pl. 361). 
Triumphs of the Gods (Belgian private possession). Armorial hangings (Art Trade). 


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Gaspar van der Borght, called A. Castro (7 1742), son of Jacob. 1701 
Ovid’s Metamorphoses, Blessings of Agriculture, Pastor Fido after Nicolas van Schoor 
and Peter Spierincx, Story of Armida after Victor-Honoré Janssens. Existing series: 
Allegorical Armorial tapestries (Formerly collection of Prince P. Galitzin), Teniers 
series (Dresden, Milan, Castle Issy), Flight into Egypt (Munich, pl. 360). 

Frans van der Borght (son of Gaspar), 1727, 1761 Doyen. Story of Achilles 
(Paris Art Trade, Stockholm, English Art Trade, Paris, Vienna), Life of the Saviour 
(Bruges, pl. 364), „Fins Teniers” (German private possession, pl. 365, Vienna), Story of 
Apollon (Stockholm), Story of Moses (Vienna, Austrian private possession), Four Con- 
tinents (Vienna, Cologne), Story of Rome (Vienna), Story of the Pierced Host (Brussels). 

Pieter van der Borght (son of Gaspar), dies 1763. Inventory made after his 
death Campaign series after Maximiliaen de Hase. Existing series: Story of Moses 
(Vienna, Nürnberg, pl. 363), Four Continents (Vienna, pl. 362, German private posses- 
sion), Teniers (Vienna, Turin, French private possession, former Collection Yerkes). 

Jacob van der Borght jun., 7 1794. Scenes from rural and fisher life (Vienna), 
episodes from the Old Testament (Aachen, German Art Trade), Story of the Pierced 
Host (Brussels), Story of Moses (Belgian private possession). 


The Pattern Painters (German Edition page 404—438). 


f The large van Roome-Orley group with it’s collateral branches is conspicuously 
efined. 

The religious troubles about the middle of the 16 century and more still the ever 
growing influence of the Antwerp Pant causes Brussels to be left very far behind the 
Scheldt metropolis. The last third of the 16 century shows a peculiar uncertain 
fluctuating movement between the two towns. The factory-like condition of some 
of the larger leading firms required special draughtsmen, who settled chiefly in Antwerp, 
the centre of tapestry-trade. 

The epigones of the Brussels pattern-painting received their death-blow by the 
Rubens’ school of art; the followers of the great master saw to it, that an art, which 
was as honourable as it was lucrative, should be preserved to the city of the Scheldt, 
for a good many years to come. It was only the erection of the Brussels Pant and 
the gradual falling-off of the Antwerp picture-tapestry weaving, which created a new, 
if somewhat vacillating foundation, for a school, whose centre was the capital of 
Brabant. This school, very largely influenced by the productions of the Paris manu- 
factories, principally by the art of Le Brun, tried to gain a certain degree of indepen- 
dence and to take up the fight against foreign competition which was daily becoming 
more irksome. The landscape- and garden-tapestries sometimes show a more definitely 
marked personality. According to the taste of the time, they are enlivened by female 
figures after Mignard, which go splendidly with the background. 

A characteristic note is again struck by figure tapestry-weaving in the Pastoral 
hangings, by the Teniers scenes and by the battle pictures after the manner of van 
der Meulen, Wouverman’s and de Pegna’s. Jan van Orley is the leading master. 

The allegorical tapestries of the Leyniers, de Vos and van der Borght represent the 
highest point of perfection reached by tapestry picture weaving before it’s final ex- 
tinction. 

A standing school, mainly occupied with the production of patterns does not exist 
any more at the end of the 48 century. The method of letting painters, just hap- 
pening to be popular make the designs or even of simply copying paintings, 1s an 
exceedingly bad habit which, already frequently noticeable in the 16 and 17 century, 
became the universal rule. 


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The Borders. 


The borders as an integral member of the picture tapestry, similarly to the miniature 
frames, only becomes necessary when the hanging forms a standing part of the room, 
when it is given an essential architectural and decorative function. 

In place of the former method, which tried to find a primitive setting by finishing 
off the tapestry with bushes and foliage (pl. 201, 203), scrolls and clouds, the endeavour 
is noticeable, towards the middle and end of the 15" century, to secure a more cons- 
picuous effect by aid of architectural motives. 

The picture is finished off by columns worked in rich relief and embossed with 
pearls and precious stones. In the first decade of the 16 century this motive was 
molded into it’s most luxurious form, the flamboyant style working miracles upon it. 
More rarely do we find the sides finished off by towers in place of columns, as for 
instance in case of the Tournai hanging in the Raoul Heilbronner collection, in which 
episodes from the siege of Jerusalem are depicted (pl. 214) or of the splendid Brussels 
tapestry of the Coronation of the Virgin in the Louvre at Paris (pl. 56). 

The border, taking the word in it’s most restricted sense, takes it’s motives from 
two sources, either it imitates the picture-frame, or it is worked after the fashion of 
a miniature-setting. This latter way of solving the problem, certainly the better one, 
was destined to an early end. Book illuminating had already passed its summit 
while the border was still in the first stages of it’s development. It is characteristic 
that picture-tapestries, ordered by Germans generally prefer the miniature frame work. 
This is the case in the Susannah tapestry (pl. 451) of the London Victoria and Albert 
Museum, in the well-known tournament hanging at Valenciennes, in which a brocade 
stuff is chosen as background for the armorial bearings of Saxony, in the crucifixion 
at the Vatican (pl. 388), in the beautiful tapestry with the Birth of Christ in the 
Vienna State Collection, showing the Scripture kings and the Prophets among rich 
arabesques (pl. 387). 

The rose- and grape-border (pl. 107, 266, 369, 370 and so forth) holds undisputed 
sway for about three decades; the italianized grotesques of the Sablon series form an 
exception, wavering as they do between picture frame and miniature setting. 

At first there was some uncertainty. The trial was made to combine the wonted 
column side ending with the new frame by simply setting the picture tapestry in 
it’s old form into the narrow border. We find this coexistence of column and frame 
in a whole series of the finest Madrid hangings, the Coronation of the Virgin, an 
evident tabernacle hanging, the story of David, the Bearing of the Cross and many 
others (pl. 415, 116, 149 and so on). In the second decade the frame is somewhat 
enriched, new floral motives are added, primarily there appears the sword-lily with 
it’s characteristic leafage, then anemones, poppies and convolvulus begin to sprout, the 
gay device being picturesquely enlivened by song-birds. 

With the gradual departure from the rythmical monotony of the setting and the 
introduction of new and richer animal and floral subjects, a subdivision becomes 
necessary, by which the structure is once more made clear. The setting is divided 
into a number of small compartments, in such a way that long drawn rectangular 
spaces vary with squares of equal sides, all picturesquely adorned by flowers (pl. 107, 148). 

Except this solution by squares, there is a second way of solving the problem, which 
consists in fastening the floral decoration by clasps, set at regular tervals from each 
other, thereby in a certain measure dissolving the frame into separate festoons (pl. 77, 
85, 87—89, 141 and so on). 

While the square border is not developed further and eventually is reduced to a 
dull scheme, the garland forms the transition stage to the picturesque framing of the 
Brussels late Renaissance, it brings us the borders of the Maximilian series, the Apocalypse, 
the Jacob series and the series of the Seven Deadly Sins and countless others. Even 


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in the highest stage of perfection, that this typical border ever reached, it is always 
quite evident that it originated in the picture frame. The trunk of a palm tree or a 
laurel festoon lie in a deep groove, garlands of flowers and fruits are wreathed round 
this stem, narrow bands form the outer setting (pl. 71, 80, 104, 109, 144, 128, 133, 
161, 374, 382 and so on). 

Animals are added to enliven the whole. 

The dissolution of this universal border beginning in the second half of the 16 cen- 
tury, the groove motive is lost under a quantity of „antique” details. The endeavour 
of the manufactories is still more noticeable than before, to create a typical house- 
border for themselves, which will, independently of the trade mark, inform the con- 
noiseur, who the manufacturers are. About 1550 the scrollwork and ribbon ornament, 
which at first are but bashfully introduced in the fruit- and foliage border, and which 
lend a kind of framework to the formerly too level surface (pl. 61, 279, 356), gain 
importance to such a degree, that the principal motive is almost lost sight of, at times 
even disappearing entirely, leaving the masques and allegories sole masters of the field. 
The borders of the Vienna Deadly Sins series offer excellent examples (pl. 79). The 
happy introduction of italianized ideal personages into the framework of leaves is 
shown by the setting of the Virtue tapestries in the same collection (pl. 86). 

In the first decade of the 17 century the framing is done by a border squandered 
into countless details (pl. 152) and occasionally of enormous breadth, a mode of pic- 
torial representation, which is no less wanting in repose. The last consequences were 
taken. At the same time it must not be forgotten that the transformation of the 
original woven picture frame into the picture-tapestry-setting has gradually been 
completed. Already in the perfected groove motive the original connection had been 
forgotten; the ripe forms, steeped in the art conceptions of Italy show no vestige of 
dependence any more. 

This statement, explaining the development of the tapestry border, is not intended 
to convey the idea, that the imitation of the picture frame was for a time completely 
abandoned. The stucco frame in flat relief always preserved it’s old attraction — 
the story of Adam and Eve in the florentine Gallery is bordered by grotesques 
and a kind of triumphal procession worked in brickred camayeu in which even the 
slightest effects of shading are carefully moulded (pl. 396). The carved wooden frame 
with superimposed shields is found again in the border of the Vienna series of 
Vertumnus and Pomona (pl. 103, 105, 106); in the same collection the bronze frame 
can be seen, somewhat dully reproduced in the Fructus-Belli series (pl. 282). The 
bronze frame is also used as a setting for several Scipio series in Madrid and in 
Swedish private possession (pl. 78). The famous Tunis series makes use of the wooden 
frame with flat plaited bend (pl. 271), the Renaissance series of Nine Heroes is set in 
a manner betraying French influences and imitating gilded stucco or bronze (pl. 82 
to 84). This means of solution reminds one of 18'% century borders, in short the 
idea of the picture frame is never quite abandoned. Independently of these two kinds, 
already described, the groove with is’s gradually modified forms and the pure picture 
frame, two other principal groups are developed. One of these looks upon the border 
as a regular picture (pl. 273, 469), the other shows the pure arabesque and tendril 
border (pl. 104, 108, 265, 321, 399, 400). The 17 century brings in a new motive, 
the architectural setting (pl. 172, 175, 285, 286, 319, 325, 334, 355). The late ba- 
roque times bring a mixture of architectural and picturesque motives (pl. 294, 347, 348). 

The architectural solution ends either in the picture frame — the Caesar series from 
the Le Clerc Manufactory very well illustrates the type — or in the simple flower 
border which, garnished with various emblems frequently breaks into the center 
picture while picturesquely enclosing it. 

The groove border of the Baroque period being in a certain sense the continuation 
of the splendid Renaissance motive, is of far greater importance than the architectural 
setting and it’s several branches (pl. 281, 304, 316, 318, 340, 344). 


7A 


BST m -As as or ni As 





The glorious fullness of the Baroque groove borders with their countless variations 
of figural and vegetable motives, does not reign over half a century in the picture 
tapestry weaving of Brussels. Towards the end of the 17 century the floral border, 
intertwined with tendrils and arabesques, also at first running in a groove has 
gained the mastery. In spite of it’s delightful arrangement this motive inevitably led 
to mechanical reproduction and prepared the final rule of the picture frame. 

At the beginning of the 48 century starts the definite reign of the carved and 
gilded frame (pl. 290, 291, 293, 297, 302, 312, 315), only to dissapear half a century 
later. Tapestry hangings without any border at all already occur in the early part 
of the 18 century. The method only becomes general about 1760, but without 
ever completely supplanting the frame. 


72 





Peuetewecels ps 


The break-down of the middle-age municipalities, vividly reflected in the distur- 
bances of Flanders during the last quarter of the 15 century, the beginning develop- 
ment of capitalism, the first signs of industry on a large scale, make Antwerp, specially 
favoured by her maritime situation the center of the world’s commerce. The ,tapesiers- 
pant” arises, an institution, which stood proof brilliantly for several centuries. Hand in 
hand with this. gigantically raised tapestry-trade work the tapestry weaving manufac- 
tories of Antwerp. In no other town of Flanders do we find series of such varied 
kinds. By the side of productions, which can compete with the best Brussels series 
— they form the majority — verdures of less and even inferior quality are produced. 
The solution of this seeming contradiction lies in the capitalistic free-trade spirit of 
the leading commercial circles. 

The archives of the town offer an inexhaustible fund of materials relating to the 
vast business connections of the leading tapestry-brokers and merchants. Of the local 
producer, the weaver, on the contrary we hear very little. 

In spite of this the weaving studios, for whom there is either documentary evidence 
or whose existence is proved by work, which has been preserved can be counted 
by hundreds. In the following list my choice has been restricted to the narrowest 
limits. 

1504 Adam de Cupére delivers four tapestries „de Vhistoire du roi Nut contenant [X** 
VI aul ...” and four hangings „de Vhistoire de hercules contenant VIII*~ a.”. 

4560 Michel de Vos of Brussels. In 1563 he negotiates with the town-council about 
the production of tapestries resembling geographical maps, which were to depict 
the course of the Scheldt from Middelburg to Brussels. 

1577 Frans Sweerts, merchant and weaver. In 1594 to 1596 he delivers for the arch- 
duke Ernst the series from the story of Pomona, the Seven Wonders of the 
World, the Trojan War, and at last nine Oudenarde verdures. He owns a 
branch-business at Brussels and is in lively business correspondence with Jan Raes. 
His son Francis carries on the business. 

1560—1590 Michel de Bos. Story of Hercules with window tapestries belonging to 
the set (Munich, pl. 433, 434). 

1599 Pieter Vanden Trille delivers to the archdukes Albert and Isabella the series of 
the Seven Planets, the story of the Prodigal Son, as well as several verdures 
«boscaige avec poésie”. 

1607 Jan van der Goes and brothers, merchants and weavers. They sell to the arch- 
ducal house part of the history of Scipio and the deeds of Hannibal. In 1611 
they receive for the series of the story of Scipio, being interwoven with gold 
threads, the amount of 38 600 Livres. 

1670, 1677 Jan van der Goten. The master works the story of Bacchus at 9 fl. 5 s. 
the square ell. In the same year he starts work on the history of Renaud and 
Armida. The story of Jephta in possession of the Swedish Crown is by him 
and P. Colenaer (pl. 435—437, P. Colenaer [Koluenaer], Fellow worker of Jan 
van der Goten (Story of Jephta in Stockholm, pl. 437). 

1686, 1693 Balthasar Bosmans. He sells the story of St. Kilian to the cathedral chapter 
at Wurzburg, likewise a number of armorial tapestries (pl. 438, 439). 

Jacob van der Goten emigrates to Madrid, in 1720. Of his work in Antwerp 
there is amongst others in existence the story of Apollo (German private pos- 
session, pl. 165). 


73 


Louvain—Mecheln—Thienen—Diest 








Louvain — Mecheln — Thienen — Diest 
St Trond — Bergen op Zoom. 


These manufactories never get beyond the narrow limits of work on a small scale. 
Thienen, Diest and St. Trond produce nothing, as a rule, but cheap verdures, besides 
mule and cradle covers. The establishments of Huybrecht Cakelaers (about 1505), of 
Henry van Inecke (about 1510), of Gerard Wauthier (about 1540), all at St. Trond 
gain a certain importance (pl. 444), 


74 


The County of Flanders. 


Oudenarde. 


While Antwerp, conforming to the spirit of newly awakened social and economic 
ideas, gradually grew into the biggest commercial metropolis of the North, Ouden- 
arde represents the typical manufacturing center of picture-tapestry-weaving with all 
it’s lights and shades. 

Unfortunately there is not space enough to discuss at length the exceedingly inter- 
esting history of Oudenarde picture weaving, which in many respects reminds us of 
modern industrial enterprise on a large scale. The countless small studios and the 
home workers in the country are employed by them. The distinctive character of 
this business management explains the fact that by the side of tapestry-hangings, 
representative of a good medium quality we find work of very inferior stamp. The 
designs for most of the series are procured from Antwerp or Brussels (pl. 443, 444, 
449). Qudenarde, conformably to it’s rapidly producing manufacturing methods, 
occasionally goes to great lengths in the mechanical rendering of the details, especially 
of the vegetation in the foregrounds (pl. 451, 452). The restricted colour scheme (blue, 
green, brown, little red) and the continually repeated, as a rule symmetrically designed 
borders, are typical for Oudenarde. The cheap tapestries often completely desist from 
the proper rendering of the flesh tints in faces. The colours put in wet or dry 
faded quickly, the staring ivory white faces have an almost ghostly appearance (pl. 447). 

The dark brown, sometimes black ground of the floral border is characteristic for 
the Oudenarde verdures from the close of the 17 and from the following century. 
The sharp competition of Oudenarde with Aubusson, the similarity of the business 
organization in the rapidly producing manufactories of both towns created a resem- 
blance, which frequently caused mistakes. 

The marks of distinction lie in the choice of subjects and in the colouring — 
Oudenarde keeps to it’s greens, yellows, browns and blues, Aubusson makes use of 
a strong red, an intense blue and a bright yellowish brown — and in the technical 
rendering of details. While Aubusson pays little attention to the foreground in the 
customary articles of production — the large uniform spaces, set with enormous 
bushels of plants are characteristic — Oudenarde, for a long while to come, still 
clings to the old traditional type of a rich floral vegetation; while the modelling of 
the Aubusson leafage is picturesquely broad and soft, the Oudenarde foliage is hard 
and sometimes even mean in treatment; the yellow side lights stand glaringly on the 
green shades. The distinctive character of the verdures of Brussels, Lille, Oudenarde 
and Aubusson is perhaps to be explained by the juxtaposition of the plates 448, 457, 
458 and 459. The rendering of the same subject — a peasant’s dance — in Lille 
(pl. 463) and in Oudenarde (pl. 455) is of special interest. 


75 


ON AE COA Te 


The Oudenarde picture weaving dates back to the first half of the 15% century, 
the last weaver, John Baptist Brandt, closes his studio in 1722. To the most important 
manufactories belong the establishments of Josse de Pape (1859—1587), of Jan and 
Pieter Robbins (1559—1595), of Arnold Cobbaut (pl. 450a) about 1550, of Michel van 
Orley (1547—1567), of Jacob de Moor (4585—1613), of George and Arnold van 
Coppenolle (1595—1621), of Anton Robbins (1595—1648), of Joris Ghuys (1600—1620), 
of Jan Voet (about 1610), of Vincent van Quickelberghe (about 1620), of Jan van 
Coppenole (1625—1658), of Jan van Verren (1658—1700), of Pieter van Verren, of 
Frans van Verren (1674—1699), of Frans Baert (till 1692) and of John Baptist Brandt 
(1745—1772). 








76 








I21alslve, 


The Lille weavers of the 14 century never get beyond the limits of trade. An 
exception is made by Philip Ransart, in 1399 he sells to Philippe the Brave of 
Burgundy „un drap de hauteliche aux ymaiges du Roy et XII pers de France”. In 
the 45% century the establishments of Simon de Vinchent (about 1420); of Jacquemart 
Largeche (about 1440), of Ghillebert Deleplanque (about 1450) and of Camus Dujardin 
are of a certain importance. For the 16 century Gabriel Sauvaige (about 1525) 
deserves to be mentioned. In the 18 century several new establishments spring up, 
but most of them are only of short duration. Some importance attaches to the 
undertaking of Vincent van Quickelberghe and his sons John and Emanuel (1625—1650). 
Francis Pannemaker and his son Andrew respected masters from Brussels, found a 
work room at Lille in 1684, which flourishes in the nineties of the same century. 
After the death of his father, master Andrew carries on the manufactory conjointly 
with his son-in-law Jacques Deletombe. The studio is given up in 1720. The 
still existing work is confined to landscapes and to furniture tapestries. Artistically 
the highest and at the same time the most productive manufactory is the establish- 
ment of the Brussels master Jan de Melter (1688—1698) and of his son-in-law and 
successor William Werniers (1700—1738). After the death of Wernier the widow 
carries on the business till the year 1778. Of de Melters works those deserving- 
mention are: „Spring” (Munich, pl. 461), series after Teniers, Verdures, Portrait tapes- 
tries, copies after Rubens’ pietures and other paintings, the Madonna and the Infant 
Christ (French private possession). William WVerniers was generally occupied with 
Teniers representations. Numerous very remarkable series have been preserved (Paris, 
German private possession and Art trade, American private possession, pl. 462, 463, 
464). Plate 465 is characteristic of the late times of the studio under the widow’s 
direction. A falling-off in artistic and technical quality is distinctly noticeable. Except 
the Teniers series the Wernier manufactury chiefly produced verdures (pl. 466, 467), 
mythological series (triumph of Amphitrite, story of Bachus, story of Psyche), the story 
of Don Quijote,armorial hangings (museum at Bailleul) and religious series (Life of the 
Saviour, story of the countess Joanna] of Constantinople after designs by Arnold de 
Wuez). 

Francois Bouché works with few assistance since the fourties of the 18 century 
till 1773. He confines himself mainly to furniture tapestries and portrait renderings, 
Stephen Deyrolle opened a studio in 1780 under unfavourable auspices. The only 
work of the master known to me is the „VVoman spinning”. 


71 








Bruges. 


During the 14 century and the greater part of the 15% century Bruges is next Paris 
the chief emporium of tapestry-hangings. Documentary proof of purchases made are 
frequent. The fact led to the erroneous idea, that Bruges was one of the chief places 
of tapestry weaving. The Arras and Tournai tapestry-merchants of importance, such 
as Huart WValois, Pasquier Grenier, Arnould Poissonnier and others maintained 
depositories in Bruges. Among the Bruges proprietors of manufactories the only ones 
deserving to be mentioned are: Colart de Paris (about 1375), Pieter de Meestere (about 
1426), master Egidio (about 1436), Jehan Glisous (about 1480), Nicolas de Labye (about 
1470), William Moreel, Alard de Meestre, Jan Lancbaert (about 1475), Luc Julyen 
(about 1470) and Jacob Apans (about 4480). They all of them produce nothing but 
armorial tapestries, simple verdures and are besides occupied on works of restoration. 
The leading firm about 1500 is that of Jehan de Wilde, called Savaige. The business 
was managed in Bruges by his wife, Mrs. Catherine Hasselet. Possibly the establish- 
ment may have been a branch business of the Tournai weaver’s Jehan Sauvaige. The 
monumental story of St. Anatole, of which three tapestries have escaped from the 
storms of the French Revolution, was produced in the time from 4502-1507. The 
documentary proofs which have fortunately been preserved, show plainly that the 
Wilde manufactory was always immersed in financial difficulties. In the course of 
the 16 century the activities of the Bruges workrooms dwindled to a minimum. The 
only establishments of any importance are those of Jan Bory (Madonna tapestry 1525), 
Anton Segon (Garden tapestries with superimposed armorial emblems, 1529), Peter 
Hercelin (verdures, story of Tobit, till 1566), Jacob, Jan and Anselm Crayloot (4550—1583). 

For the 17 century we have, to begin with, very scant documentary evidence. An 
enlightenment on this subject is very much to be desired, in especial because some 
of the signed tapestry-hangings denote faculties which at the very least come up to 
the general average of tapestry weaving; a few of the works can compete with first- 
class productions of Brussels (pl. 468a, 469, Story of Diana (Madrid), the Seven Liberal 
Arts (Essen), Story of Scipio (Belgian private possession). 

The Bruges churches and Hospitals are in possession of a comparatively large number 
of local tapestries. The art of picture weaving was of old assiduously practised in 
the convents of the town; the existing works of this kind are much inferior to the 
productions of manufactories conducted by professional experts (pl. 468). 


78 


Gamer ia ede stb eg r g en 





Geerardsbergen (Grammont). 


The studios of the town can be traced back of the end of the 15% century. Simple 
tapestries for daily use were mostly produced, principally the exceedingly ornamental 
large-leafed verdures (pl. 470, 471). At the end of the 16" century, after the extinction 
of the Borreman manufactory business begins to stagnate. The town councilors tried 
to induce foreign weavers to take up their abode in the town. 1618 Raphael Plas 
schaert settles at Geerardsbergen. 


79 











Ghent. 


The „goeden Liede van den Tapijtambochte” (statutes of the year 1350), have nothing 
to to with the tapestry-weavers, they merely refer to the clothworkers. The leading 
studios, known to me in the 15% century, are those of Catherine Croecx (1449) of 
Peter de Borselaere (4478, armorial tapestry) and of Gilles de Herdt (4419). The 
brilliantly finished „Last Supper” was produced in a Renaissance studio (pl. 472) 
Which master is responsible for it, a Peterzone or one of the van der Reye, cannot 
be decided from the documentary materials, known until now. The manufactories 
of the 17 century were generally only of short duration. The graciousness of the 
town council enduced several Oudenarde weavers to take up their abode in Ghent. 
(Francis de Moor, Jan d’Olieslaegher, Daniel Coppenolle, Louis Blommaert, Jan Baert, 
Macaire Gimbercy, Frans van der Stichelen, Joris Blommaert.) The landscape series 
with small figures in the abbey at Baudeloo originates from the de Moor studio. 


80 





Dou at 


The small manufactories of the 15% century which seem to have been solely occu- 
pied in the making of tapestry cushion-covers are of little importance. With the 
exception of several short lived establishments (Frans Pannemaker 1679, Andreas 
Chivry 1692, the widow of Andreas Duquesne 1714—1717, Lievin Schietekate) the 
only manufactory deserving to be mentioned is that of Thobias Couckx (4743—1790), 
to which the Brussels master Jacob Ignaz Reydams (1743—1747) also belonged as 
partner for a short while. In this studio verdures and armorial tapestries were 
manufactured. It always suffered from want of means. 


84 


Mad od eV ED rea 





Middelburgin Flanders. 


Peter Bladelin, Lord of the treasury to Philip the Kind of Burgundy, founds a new 
municipality on his extensive domains in East Flanders. Out of this municipality grew 
the Middelburg of the present day. The promised privileges tempted tradesmen and 
artists to settle in the place. In 1469 Brice le Bacquere (from Tournai) is busy in 
Middelburg (verdures), Melchior le VVede (verdures) is at work here at the same 
time. The troublous times after the death of Charles the Brave put an end to the 
young workrooms, the new lord of the town, chancellor Hugonet died on the scaffold 


82 


rer pern-—- Tourcoing 





Alost(Aelst)—Ypern—Tourcoing 


the rural manufactories of Flanders and Brabant. 


In 1496 the weavers guild at Alost receives new statutes. In the imperial rescript 
of 1544 Aelst is specially mentioned among the towns already possessing regularly 
constituted corporate societies. WVe have absolutely no further details about the 
manufactories of the 15" and 16 century. In 1614 we find the masters Gilles Roos, 
Roos de Ketele and Michel van Glabeke, in 1618 transactions take place between the 
weaver David Taleman and the town council of Tournai. 

In Ypern Jan van Belle is busy in 1457, Christoph de Roovere is working here in 
1560 (armorial tapestries). In Tourcoing Jeanne-Marie Lefebvre is busy in the thirties of 
the 18 century, she is the widow of the weaver Neering (Neerinck). A tapestry from 
this manufactory — a rural festivity — is in possession of the Lille chamber of com- 
merce. In case of the rural manufactories we do not yet possess sufficient information. 
There seems little hope, that we shall ever be able to localize the rural studios with 
any degree of certainty. The country weavers either have no trade mark or they 
annected the trademarks of the neighbourmg weaving towns. Characteristic of the 
rural picture-weaving are faulty drawing, slovenly and unequal work and a restricted 
colour scale, which does not go beyond green, yellow, brown, red and blue. The 
plates 473, 474 offer some examples; they represent the highest standard of rural 
weaver’s art. 


83 


Vw 





The County Ogi enenze 2 aU. 


Valenciennes. 


The productions of the studios of Valenciennes in the earlier times bear the stamp 
of common tradesman’s work in a very marked degree. The masters rarely dare to 
attempt larger series. About 1335 Jehan Jollain is busy, about 1397 Ernoul Bresin 
makes sumpter-mules caparisons and tapestry-hangings with the arms of Albert I. of 
Hennegau, in 1446 Jean Bresin appears with work of the same kind, in 1449 Jehan 
de Florence undertakes large works of repair. 

The numerous „hautelissiers”, who are at work in Valenciennes during the 15%, 
16 and 17“ century, are not, as is generally supposed, tapestry workers but weavers. 
The famous tournament tapestry at Valenciennes has likewise nothing to do with the 
studios of the town. It is a piece of Brussels work and was originally in possession 
of the old electoral house of Saxony. It is only as late as 1675 that there once more 
appears a manufactory in Valenciennes with Philippe de May (du May, du Metz). The 
studo was still in existence in 1690. It chiefly produced verdures; the „story of 
St. Aegidius” after designs by Jacob Albert Gérin forms an exception. Nicolas Billet, who 
works in Valenciennes about 1728 was a clever tapestry weaver judging by the 
tapestries that have been preserved — views of rich parks (Paris auction of 13. III. 1885). 


ne 








Enghien. 


It is not possible unfortunately to give a detailed account of this interesting studio. 
We must shortly refer to two tapestry weavers of the 15% century — Michel Betthen 
1440, Hermann Betthen 1445; Enghien did not really thrive till the 16 century. 
Primarily to be mentioned are the masters Laureis Flascoen (Flaschoen) (1524, 1525 
armorial tapestries for the viceregent Margaret of Austria, other works 1528, 1533), 
Henry van Lacke (1528 armorial tapestries for the viceregent Margaret of Austria 
(pl. 475) after designs by Jan Vermeyen), Nicolas Rousseau (1540 extensive tapestry 
series to the viceregent Mary of Hungary, 1545 tapestry series to the bishop of Tournai), 
Quentin Flascoen (1576 story of Joseph), Nicolas de Dobbelaer (1576 verdures), Philip 
van der Cammen (1579 story of Abraham, Last Supper, Bible scenes, 1582), Pieter van 
der Cammen (about 1530, armorial tapestries „verger d’honneur”, castle Vrigny (Loiret), 
story of Diana (Belgian private possession) Jan van der Cammen (verdures with 
children playing (American private possession), armorial tapestries (French private pos- 
session, 1576 verdures), Digne de Rousseau (1576, verdures), Hans van der Biest (moves 
to Munich in 1604). A characteristic sign of the Enghien manufactories are principally 
the highly ornamental large-leafed verdures (pl. 476). A typical figure-tapestry of 
Enghien is shown in plate 477. In the 17% century there is a decided falling off in 
the studio work of the town. Several of the most respected firms emigrate (Joris 
Leemans [1638], Jan Bauwens [1643], Philip Ost [1644] to Brussels, 1671 Jan Oedins 
to Tournai). In 1685 the last tapestry weaver of Enghien, Nicolas van den Leen 
closes his studio. The manufactory of Henry van den Cammen, probably the most 
industrious master of the town (1642 story of Alexander the Great, verdures and 
grotesques, table tapestries about 1650, Brussels, Musées Royaux du Cinquantenaire) is 
already extinct in the sixties of the 17" century. 


86 





Mons—Binche—Ath—Lessines 


Mons — Binche — Ath — Lessines. 


In Mons work in 1398 one master Piérart, 1478 Gilles le Mosnier, 1515 Jehan du 
Pret. For the 16 century there is not sufficient documentary evidence. The manu- 
factories of Binche, Ath, Lessines never get beyond a small scale of trade (verdures, 
cushion pieces, cradle covers). 


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County of Holland. 


Bemssterdam-Schoonhoven. 


The tapestry manufacture of Amsterdam gains in importance about 1580; the former 

establishments generally bear the stamp of the small studio. In all Dutch towns the 
newly enriched burgher does not so much care for sumptuous figural series as for 
smaller tapestries and table cloths, which make the house homelike, are an ornament 
to the rooms and impress the visitor with an air of wealth. The states and the 
municipal administration endeavour earnestly, to impart to their council halls and 
burgomaster’s rooms an air of dignity and comfort, by armorial tapestries and re- 
presentations of the glorious events of the day. In short the Dutch manufactories are 
not, like those of Brabant, primarily occupied with the pomps of court-life but with 
middle-class and municipal needs. 

The limited space at my disposal only permits a summary enumeration of the most 
important studios: 1547 Peter Jellot (from Brussels), Garbrat Claeszn (1564 cushions 
with the arms of the town), Jan Jansz de Buck (4581, 1585, 1587 cushions with 
the arms of the town) and his son Gerrit (1593, 1595, 1598 cushions with the 
arms of the town), Sara Dircx (1585, 1588 cushions), Jacob Pieters (1591 cushions), 
master Jacques (1592 cushions), Goosart Simays (1586 till about 1615, verdures, story 
of Alexander the Great, table tapestries, cushions) and his son(?) Dirck Simays (1612 
till about 1630, cushions, verdures table tapestries, story of Cleopatra). Joris Nauwinck 
(Nauwincx) has manufactories in Amsterdam and in Schoonhoven from 1619 to about 
1640: cushions, table tapestries, story of Joseph, Life of Abraham, story of Juno (pl. 482). 
Besides these must be mentioned: Pieter de Cracht (4645—1662 story of Cleopatra, 
Paris and Helen, story of Esther, Celadon and Asträa, landscapes, story of Iphigenia, 
animals fighting (pl. 481), Dido and Aeneas, hunting tapestries, story of Decius Mus 
after Rubens, story of Publius Manlius Torquatus and a Porsenna series; Abraham 
and Jacobus de Cracht (about 1662 in Schoonhoven, are these branch businesses 
of Pieter de Cracht?), Frans Guys (1675 in Schoonhoven), Alexander Baert, the 
elder (1698—1719 series of the Seasons, story of Agamemnon (pl. 483), the Continents 
(Amsterdam auction 16**—18* February 1897), landscapes (pl. 485, 486). The master 
has branch businesses in the Hague and in Gouda. Alexander Baert, the younger 
(17191752). The heirs carry on the business till 1759. Branch business at Middel- 
burg. The Continents (pl. 484), landscape series with small figures. Alexander Cremer 
(about 1750). 

The Nederlandsch Museum voor Geschiedenis en Kunst possesses among other things 
several cushion pieces, which are most probably the productions of local firms. The 
later piece, dated 1706 shows the arms of the Watershap van de Rivier de Kem 
(Utrecht) (pl. 487b), the older piece (1679) the sign of prerogative of the Dijkbestuur 
van de Purmer (pl. 487a). 

Besides this a round tapestry medaillon is of interest; three burghers wives armed 
with pistols and speers group themselves in picturesque and comfortable attitudes; 
on a pedestal there rests the cut-off head of a warrior (pl. 480). Plate 488a, b, illus- 
trates the type of Amsterdam table tapestry. 


89 





Rotterdam. 


The Rotterdam studios (Michiel de Conninx (+ 1601), Laurens de Maght 1593—1595, 
Arent de Lepelaer (1614-1624), Isaac de Lepelaer (1614—1635), Peter de Lepelaer 
(1635 to about 1645), Bartholomeus de Milaen (4633), Willem Overklijff (1697, 1698), 
confine themselves to the production of table and armorial tapestries and cushions. 


90 


De che et 








Da es tet 


As in all Dutch manufactories, so also in Delft, it is only through the advent of 
capable masters from the Southern Provinces, recaptured from Spain during the 
eighties of the 16 century, that trade begins to flourish. The fame of Delft is 
primarily dependent on the name of Francis Spierincx (1592—1630). The earlier 
studios are of no special importance, with the exception of the workroom of Joost 
Jansz Lanckert (1575 till about 1590), verdures, armorial tapestries, the relief of Leiden 
(pl. 490 after designs by Hans Liefrinck, skirmish on the Leydsendam). In the manu- 
factory of Francis Spierincx, which in later times was carried on by his sons, Aert and 
Pieter, the following works were produced: 1592 „the Battle of Bergen” (Middelburg), 
1606 story of Alexander the Great, 1618 allegorical tapestry hangings, numerous series, 
which the States general used as diplomatic presents (1609, 1610/14 story of Scipio, 
1613, 1614, 1619), the Defeat of the Armada (last decade of 16% century), 1621 story 
of Scipio (Rome), story of Diana, a series of the Orlando Furioso, horsecloths with 
the arms of Sweden (pl. 493), table covers and landscape series. Comparatively many 
works from the Spierincx manufactory have been preserved. The Roland series is of 
frequent occurrence (pl. 491 [Milan], Paris auction, May 7 1907). Isolated hangings 
from a David series are to be found in French private possession (legacy of Baroness 
de Gargan, Paris May 6% 1904). Plate 492 shows most excellently the kind of table 
tapestries that were produced in the manufactory under Aert Spierincx. 

The extraordinary success of the Spierincx undertaking encouraged a moneyed man 
the Jonkheer Nicolaes Snouckaert van Schrapplau, to enter into business transactions 
with the pattern-painter of the Spierincx manufactory, Karel van Mander. In 1615 
the new „Societeit omme te maecken tapiserie” started on it’s functions, Maerten van 
Bocholt acting as controller and keeper of the accounts. To van Mander was given 
the large Danish order — originally intended for Francis Spierincx — for the decoration 
of the castle Frederiksborg (26 wall tapestries, the deeds of king Christian IV.). 

Doubtless the van Mander enterprise, in which the most capable and experienced 
workers were employed, would have put master Spierincx to some difficulties, if the 
former pattern-painter had been possessed of even the slightest sense of order in his 
business affairs. 

The careless management of Karel led to differences with Snouckaert. On October 25 
1922 the Jonckheer had the manufactory completely dismantled, in van Mander’s ab- 
sence, leaving only the bare walls standing, and having all the stores taken over to 
the Spierincx studio. Exceedingly unpleasant explanations followed, the quarrel was 
continued for years after van Mander’s death (before May 2” 1623). All in all the 
manufactory produced 2323 square ells of tapestry: story of Alexander (pl. 495), the 
story of Troy (pl. 494), the story of Cleopatra, St. George, numerous table tapestries, 
landscape series and small tapestries. Next to the two large manufactories and sometimes 
working for them numerous small firms are busy in Delft (amongst others Jeremias 
Docet, Mathys de Schepper, Pieter Pietersz, Jan Houtman, Frans Jansz de Abol, Bar- 
tholomeus Jansz de Abol, Pieter Heestock, Jan Jansz van der Plancke, Pieter Couwaert, 
Joris van den Kerckhove, Jacob van Linthout). Details would lead too far. 

After the year 1635 the studio of Maximilian van der Gucht (7 1689) takes the lead 
among the Delft manufactories: 1637 landscape series, 1638 historical series (Siege of Mas- 
strich, Breda and so on), 1642/43 garden tapestries with peacocks, 1643 furniture tapes- 
tries, 1644/45 forest landscapes, 1645 armorial tapestries (like that shown in plate 498) 1647, 
the English hunts (pl 496, 497), landscapes, battle of Nieuport (pl. 499), about 1655 story 


94 


D NENNEN 


of Caesar, 1662 „fine landscapes”, 1667, 1668 forest landscapes, 1668 the castle of 
„Old-Haarlem” (pl. 509), 1675/76 landscapes, cushion pieces. The branch business in 
the Hague was conducted by his son Bartholomeus. Jacobus van der Gucht (a second 
son) was principally occupied in producing rich landscape series; Pieter (a third son) 
conducted the branch business at Gouda since the year 1660. 

The firm of Cornelis Coppens, which was considerably enlarged in 1662, is likewise 
of importance. The studio mainly produced forest- and park tapestries with small 
figures. Francis Coppens continued his fathers business (1680—1743), his brother Samuel 
Coppens works in the Hague (landscapes, cushion pieces, table tapestries). 





92 


Geo wu ds a 





Gouda. 


Willem Andriesz de Raet works from 1550—1559 after designs by Dirck Pietersz 
Crabeth. He moves first to Haarlem, then to Leiden. The small firms of Gouda are 
almost exclusively occupied in the production of cushion pieces, table tapestries and 
simple landscape series (1584 Joris de Pottere, Jacob Pietersz, 1587 David van Coy, 
1584 Anthonis Caen, 1585 Abraham Huisman, 1592 Joost Schaep). 

The leading manufactory at the end of the 16 century in Gouda is that of Jan 
Rufelaer (Rufflaer, Ruselaer), who produced fine series of tapestries in the time from 
about 1594 to 1620. David Rufelaer carried on the business (story of Lucretia, land- 
scapes, table tapestries, cushions). Manufactories from the first third of the 17 century 
deserving to be mentioned are those of Jan Ruselaer, Pieter de Weeldighe, Jan Thysz 
van Hoambeecke, Jan Meess, Pieter van Holandt, Laurens van Veneken (1615, story 
of Salome, Andromeda series) Jan van der Mate, Adriaen Marote, Claes Crynen, 
Charles Fauernier, Matheus Engels de Groot, Abraham Daniels van Haren, Hendrick 
Thonisz, Jacob Dammelaer. 

Since 1640 the establishment of the de Lepellaer, Claesz and Arent de Lepellaer, 
seems to have taken the lead under the Gouda firms. The manufactory is still 
mentioned in 1633. It had some sharp competition to encounter, in the firms of the 
Schaep family (Pieter Davitsz, Tobias, David), to which the governement several times 
entrusted large orders: 1643 „een Camer Tapijten van bloemen” (coats of arms and 
garlands). In 1643 David Schaep is in close competition with the Gouda weavers 
Jan Jansen Segers and Maximilian van der Gucht from Delft about the tapestries to 
be manufactured for the new Admirality at Rotterdam. Segers got the order (hunting 
series), the master was still at work on it in the Sixties. The studios at work in 
Gouda during the second and last third are those of Cornelis Adriaensz, (1628, cushions 
in the Lakenhalmuseum at Leiden), Engel van den Banken (1634), Pyter Denys (1638), 
Jacob van de Putte (1650), Adrian van de Putte (1651), Johannes Scherder (1675), 
Gillis van den Bergh (1676), Steven de Lange (1679). The establishment of Abraham 
Adriaensz Goosensoon rises above the level of small and middle size firms. 1648 land- 
scape series (pl. 500), 1633 table tapestries, cushions, 1670, forest tapestries). In the 
48% century the Gouda picture weaving is reduced to a minimum. 


93 


Th Se tegen 





Dh te WHral et se. 


The studios of the 16™ century are of no great importance. On the contrary the 
workroom of Maerten Reynbouts (71674), who had emigrated from Brussels in 1618, 
bears the stamp of a good average manufactory (Armorial tapestries, landscapes). In 
1642 we find Joost van Coppenol. Several masters from Delft, Gouda and Amsterdam 
found branch firms in the Hague. Details would lead too far. 


Vie id de FO ik org 





eeded el binres, on Wialch er e n. 


The leading worker's family at the end of the 16™ century is that of the de Maecht 
(Jan de Maecht (Maght) and his sons Laurens and Heyndrick). Their principal work 
are battle scenes and the magnificent armorial tapestry (pl. 506) hanging in the Coun- 
cil hall of the Provincial States of Zeeland (Maria abbey in Middelburg). With the 
death (1631) of Laurens de Maecht the manufactory becomes extinct. 


95 


Aaah re een 








Hs a rvlve tm: 


The establishment of Joseph Thybout (Thienpond) is important. The works still 
existing (the taking of Thamiatis after cartoons by Cornelis Claes van Wieringen and 
Pieter Holsteijn (pl. 507), the adding of new quarterings to the arms of the city of 
Haarlem after the design of by P. F. De Grebber (pl. 508) give some idea of the 
studio’s general character. It was doing business: from 1629 till about 1650. 





Leiden — Dordrecht — Leeuwarden — Utrecht 


Leiden — Dordrecht — Leeuwarden — Utrecht. 


Willem Andriesz de Raet emigrated to Leiden somewhere about the year 1560, 
the manufactory became extinct in 1575 (cushions, table tapestries, large - leafed 
verdures (pl. 510). In the 17 century the working firms were those of Carel 
Tavenier (4642), of Matheus Hendrixsz (1620) and of Charles le Roy (1646). The 
studio of Gillis Scheybelsz (1618) in Dordrecht, never seems to have got beyond a 
small scale of production. The same can be said of Jan Corneliz in Leeuwarden 
(1624—1 644). 

During the 17 century picture weaving in Utrecht lay mainly in the hands of two 
families, the Hosse (Oste, van Osten) and the Hoboken. They principally produced 
the usual cushions and table tapestries, more extensive series do not seem to have 
been produced by the Utrecht manufactories. 





: 97 





Um 1550. Österreichische Staatssammlung. 


Phot. Bundes-Lichtbildstelle, Wien. 


GESCHICHTE JOSUAS. Brüssel. 


Collection de I’Etat d’ Autriche. 


stelle, Vienne. 


L’HISTOIRE DE JOSUE. 


Vers 1550. 








Bruxelles. 


Phot. Bundes-Lic 


Austrian State Collection. 


About 1550. 
Phot. Bundes-Lichtbildstelle, Vienna. 


THE STORY OF JOSHUA. Brussels. 


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40. DIE GESCHICHTE JAKOBS UND ESAUS. Detail. Brüssel. 46. Jahrhundert. 


Deutscher Privatbesitz. 


THE STORY OF JACOB AND ESAU. Detail. Brussels. L’HISTOIRE DE JACOB ET D’ESAU. Detail. Bruxelles. 
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42. VOR DER REPARATUR. Berliner Gobelin-Manufaktur. W. Ziesch & Cie. 


BEFORE REPAIRING. Berlin Tapestry Works. AVANT LA RENTRAITURE. Manufacture de Tapisseries A Berlin. 
W.Ziesch & Cie. W. Ziesch & Cie. 





45. NACH DER REPARATUR. Berliner Gobelin-Manufaktur, W. Ziesch & Cie. 


AFTER REPAIRING. Berlin Tapestry Works. APRES LA RENTRAITURE. Manufacture de Tapisseries 4 Berlin. 
W. Ziesch & Cie. W. Ziesch & Cie. 


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16. FRAGMENT AUS ST. GEREON ZU KÖLN A. RH. Deutsch. Um 1000. 


Berlin. Schloßmuseum. 


FRAGMENT, FORMERLY IN THE CHURCH OF FRAGMENT DE L’EGLISE SAINT-GEREON 
SAINT GEREON IN COLOGNE. German Tapestry. DE COLOGNE. Tapisserie allemande. Vers 1000. 


About 1000. Berlin. Schloßmuseum. Berlin. Schloßmuseum. 


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47. RÜCKENLAKEN. Museum in Freiburg i. Br. Deutsche Arbeit. Erste Hälfte des 1%. Jahrhunderts. 


ORNAMENTAL TAPESTRY, Museum, Freyburg. TAPISSERIE ORNEMENTALE. Musée de Fribourg. 


German Tapestry. First half of the 44th century, Tapisserie allemande. Premiere moitié du XIVE siécle. 


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50. DIE APOKALYPSE. Detail. 46. Jahrhundert. Spanischer Staatsbesitz. 


THE APOCALYPSE. Detail. 46th century. Spanish State L’APOCALYPSE. Detail. XVI€ siécle. Propriété de I'Etat 
Property. d’Espagne. 









































54. DIE JAGDEN MAXIMILIANS. Detail. Um 1555. Paris. Musée National du Louvre. 


Phot. Giraudon. 


THE HUNTS OF MAXIMILIAN. Detail. About 4355. LES CHASSES DE MAXIMILIEN. Detail. Vers 1535. 
Paris. Musée National du Louyre. Phot. Giraudon. Paris. Musée National du Louvre. Phot. Giraudon. 


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32. DIE JAGDEN MAXIMILIANS. Detail. Um 4555. Paris. Musée National du Louvre. Phot. Giraudon. 
THE HUNTS OF MAXIMILIAN. Detail. About 1535. Paris. 
Musée National du Louvre, Phot, Giraudon. 





LES CHASSES DE MAXIMILIEN. Detail. Vers 1555. Paris. 


Musée National du Louvre. Phot, Giraudon. 





55. DIE CUMANISCHE UND DIE SAMISCHE SIBYLLE. TEPPICHFRAGMENT. 
Flämische Manufaktur. Erstes Drittel des 46. Jahrhunderts. Berliner Kunsthandel 
(Altkunst — Margraf & Cie.). 


THE CUMANIAN AND THE SAMIAN SIBYL. TAPESTRY “SIBYLLA CUMANA” ET“ SIBYLLA SAMIA”. FRAGMENT 
FRAGMENT. Flemish Manufacture. First third of the 416th DE TAPIS. Manufacture flamande. Premier tiers du X VIE siécle. 
century. Berlin Fine Art Dealers (Altkunst — Margraf & Cie.). Commerce d’art de Berlin (Altkunst — Margraf & Cie.). 


A Göbel, Wandteppiche 





54. DIE VERKÜNDIGUNG DER TIBURTINISCHEN SIBYLLE. 
Flämische Manufaktur. Erstes Drittel des 46. Jahrhunderts. 
Französischer Privatbesitz. 


THE ANNUNCIATION OF THE TIBURTINIAN SIBYL. L’ANNONGIATION DE LA SIBYLLE DE TIBUR. 
Flemish Manufacture. First third of the 16th century. French Manufacture flamande. Premier tiers du XVI® siécle. 


Private Property. Propriété particuliére frangaise. 





55. DIE TIBURTINISCHE SIBYLLE ZEIGT KAISER AUGUSTUS DEN KOMMENDEN HEILAND. 
Brüsseler Wandteppich. Erstes Drittel des 46. Jahrhunderts. Paris, Musée de Cluny. 
Phot. Ede Alinari. 


THE TIBURTINIAN SIBYL SHOWS EMPEROR LA SIBYLLE DE TIBUR MONTRE LE SAUVEUR 

AUGUSTUS THE COMING REDEEMER. Brussels ARRIVANT A L’EMPEREUR AUGUSTE. Tapisserie 

tapestry. First third of the 16th century. Musée de Cluny, de Bruxelles. Premier tiers du XVI€ siöcle. Paris, Musée 
Paris. Phot, Ed™€ Alinari. de Cluny. Phot. EdNe Alinari. 


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62. TIERE AUF GARTENGRUND. MANUFAKTUR TOURNAI. Zweite Hälfte des 43. J 


ahrhunderts. 
Amerikanischer Privatbesitz. 





ANIMALS ON GARDEN GROUND. TOURNAY ANIMAUX SUR FOND DE JARDIN. MANUFACTURE 
MANUFACTURE. Second half of the 15th century. DE TOURNAT. Deuxiöme moitié du XVe sieele. Propriété 


American private property. particuliére américaine. 





65. WAPPENTEPPICH. FLAMISCHE MANUFAKTUR. Beginn des 46. Jahrhunderts. 
Münchener Kunsthandel (J. Böhler ). 


TAPESTRY WITH SHIELD OF ARMS. FLEMISH TAPISSERIE HERALDIQUE. MANUFACTURE 
MANUFACTURE. Beginning of the 16th century. FLAMANDE. Commencement du XVIE siécle. Commerce 
Munich Dealer in Art (J. Böhler). d’art de Munich (J. Bébler). 





64. TEPPICHFRAGMENT MIT DEM SCHILDE VON LA CHAISE-DIEU. NORDFRANZÖSISCHE MANUFAKTUR. 
Erstes Drittel des 16. Jahrhunderts. Paris, Musée des Arts Décoratifs. Phot. A. Giraudon. 


FRAGMENT OF TAPESTRY WITH THE SHIELD OF FRAGMENT DE TAPISSERIE AVEC ARMES DE LA 
LA CHAISE-DIEU. NORTH FRENCH MANUFACTURE. CHAISE-DIEU. MANUFACTURE DE LA FRANCE 
First third of the 46th century. Musée des Arts Décoratifs. SEPTENTRIONALE. Premier tiers du X VIE sidcle. Paris, 


Phot. A. Giraudon. Musée des Arts Décoratifs. Phot. A. Giraudon. 





65. WANDTEPPICH-FRAGMENT. ARRAS(?) Ende des 14. Jahrhunderts. 


Amsterdam. Nederlandsch Museum yoor Geschiedenis en Kunst. 


FRAGMENT OF TAPESTRY. ARRAS (?) End of FRAGMENT DE TAPISSERIE. ARRAS(?) Fin 
the 14th century. Amsterdam, Nederlandsch Museum du XIV siöele. Amsterdam. Nederlandsch Museum 
voor Geschiedenis en Kunst. voor Geschiedenis en Kunst. 





66. 67. GEWIRKTE KISSENBLÄTTER. DEUTSCH. Um 1500. 


Berlin. Schloßmuseum. 


CUSHION COVERS. GERMAN. FEUILLES DE COUSSIN. 


About 1500. Berlin. Schloßmuseum. Vers 1500. Berlin. Schloßmuseum. 


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69. OTT-HEINRICHS GEMAHLIN SUSANNA. BRUSSEL. Mitte des 46. Jahrhunderts. 


Sammlung des hist. Vereins zu Neuburg a. D. 


OTT-HEINRICH’S CONSORT SUSANNA. BRUSSELS. SUSANNA, EPOUSE DE OTT- HEINRICH. BRUXELLES. 
Middle of the 16th century. Collection of the Historical Milieu du XVIe siécle. Collection de la Société d’histoire 
Association, Neuburg a. D. ä Neuburg s. D. 





70. DIE JAGDEN MAXIMILIANS. AUSSCHNITT AUS DER SAUHATZ. KAISER MAXIMILIAN, 
Brüssel, um 4555. Paris, Musée National du Louyre. Phot. Giraudon. 


THE HUNTS OF MAXIMILIAN. SECTION FROM THE LES CHASSES DE MAXIMILIEN. SECTION DE LA CHASSE 
BOAR HUNT. EMPEROR MAXIMILIAN, Brussels, about 1535. AU SANGLIER. EMPEREUR MAXIMILIEN. Bruxelles, vers 1555. 
Musée National du Louvre, Paris. Phot. Giraudon. Paris, Musée National du Louvre. Phot. Giraudon. 


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72. DIE TRIUMPHE NACH PETRARCA. TRIUMPH DER LIEBE. Nordfranzösische Manufaktur. Anfang des 
46. Jahrhunderts. Österreichische Staatssammlung. (Baldass; Die Wiener Gobelins- Sammlung.) 


“THE TRIUMPHS” OF PETRARCH. TRIUMPH LES TRIOMPHES D’APRES PETRARQUE. TRIOMPHE 

OF CUPID. North French manufacture. Beginning of DE L’AMOUR. Manufacture de la France du Nord. Com- 

the 16th century. Austrian State Collection. (Baldass; mencement du XVIE siécle. Collection de I’Etat d’Autriche. 
Die Wiener Gobelins-Sammlung.) (Baldass; Die Wiener Gobelins - Sammlung.) 


Gobel, Wandteppiche 


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75. DIE TRIUMPHE NACH PETRARCA. TRIUMPH DES TODES. Nordfranzösische Manufaktur. Anfang des 
16. Jahrhunderts, Österreichische Staatssammlung. (Baldass; Die Wiener Gobelins- Sammlung.) 


“ THE TRIUMPHS” OF PETRARCH. TRIUMPH LES TRIOMPHES D’APRES PETRARQUE. TRIOMPHE 
OF DEATH. North French Manufacture. Beginning of DE LA MORT. Manufacture de la France du Nord. 
the 16th century. Austrian State Collection. (Baldass ; Commencement du XVIE siécle. Collection de I’ Etat d’Autriche. 


Die Wiener Gobelins-Sammlung.) (Baldass; Die Wiener Gobelins-Sammlung.) 





74. GOMBAUT UND MACEE. Manufaktur Brüssel. Zweite Hälfte des 46. Jahrhunderts. 
Berliner Kunsthandel. (J. Klausner & Sohn.) 


GOMBAUT AND MACEE. Brussels Manufacture, GOMBAUT ET MACEE. Manufacture de Bruxelles. 
Second half of the 46th century. Berlin Art Dealers. Deuxiéme moitié du XVIE siécle. Commerce d’ objets 


(J. Klausner & Sohn.) h d’art de Berlin. (J. Klausner & Sohn.) 


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76. DIE TRIUMPHE NACH PETRARCA. TRIUMPH DER EWIGKEIT. Nordfranzösische Manufaktur. 
Anfang des 46. Jahrhunderts. Österreichische Staatssammlung. (Baldass; Die Wiener Gobelins- Sammlung.) 


“THE TRIUMPHS” OF PETRARCH. TRIUMPH LES TRIOMPHES D’APRES PETRARQUE. TRIOMPHE 
OF ETERNITY. North French manufacture. Beginning DE L’ETERNITE. Manufacture de la France du Nord. 
of the 16th century. Austrian State Collection. (Baldass; Commencement du XVI® siécle. Collection de I’ Etat d’Autriche. 


Die Wiener Gobelins- Sammlung.) (Baldass; Die Wiener Gobelins- Sammlung.) 





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77. DIE TRIUMPHE NACH PETRARCA. TRIUMPH DES NACHRUHMS. 
Brüssel. Um 1515. Ehemalige Sammlung de Somzée. 


“THE TRIUMPHS” OF PETRARCH. TRIUMPH OF LES TRIOMPHES D’APRES PETRARQUE. TRIOMPHE 
POSTHUMOUS FAME. Brussels. About 4343. Former DE LA RENOMMEE. Bruxelles. Vers 4313. Collection 
de Somzée Collection. Jadis de Somzée. 


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814. DER TRIUMPH DER KEUSCHHEIT. Teilausschnitt. Brüssel. Erstes Drittel des 46. Jahrhunderts. 


London. Vietoria and Albert Museum. 


THE TRIUMPH OF CHASTITY. Brussels. First third LE TRIOMPHE DE LA CHASTETE. Partie gauche. Bruxelles. 
of the A6th century. London. Victoria and Albert Museum. Premier tiers du XVI® siécle. Londres. Victoria and Albert Museum. 





82. DIE NEUN HELDEN. KAISER KARL. Brüssel. Zweite Hälfte des 46. Jahrhunderts. 
Münchener Kunsthandel. (A.S. Drey.) 


THE NINE HEROS. EMPEROR CHARLEMAGNE. LES NEUF PREUX. L’EMPEREUR CHARLEMAGNE. 
Brussels. Second half of the 16th century. Munich Art Bruxelles. Deuxieme moitié du XVIe siécle. Commerce 
Dealer. (A. S. Drey.) d’objets d’art de Munich. (A. S. Drey.) 


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85. DIE NEUN HELDEN. GOTTFRIED VON BOUILLON. Brüssel. Zweite Hälfte des 46. Jahrhunderts. 
Manufaktur des Jakob Geubels. Berliner Kunsthandel. (J. Klausner & Sohn.) 


THE NINE HEROS. GODFREY OF BOUILLON. LES NEUF PREUX. GODFROY DE BOUILLON. 
Brussels. Second half of the A61B century. Manufacture Bruxelles. Deuxiéme moitié du XVI® siécle. Manufacture 
of Jacob Geubels. Berlin Art Dealers. (J. Klausner de Jacob Geubels. Commerce d’objets d’art de Berlin. 


& Sohn. . Klausner & Sohn. 
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84. DIE NEUN HELDEN. JULIUS CÄSAR. Brüssel. Zweite Hälfte des 46. Jahrhunderts. 
Manufaktur des Jakob Geubels. Berliner Kunsthandel. (J. Klausner & Sohn.) 


THE NINE HEROS. JULIUS CAESAR. Brussels. LES NEUF PREUX. JULES CESAR. Bruxelles. Deuxiöme 
Second half of the 46th century. Manufacture of Jacob moitié du XVI siécle. Manufacture de Jacob Geubels. 


Geubels. Berlin Art Dealers. (J. Klausner & Sohn.) Commerce d’objets d’art de Berlin. (J. Klausner & Sohn.) 





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16. Jahrhunderts. 


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89. DES MENSCHEN LEBENSWEG. Justitia will dem sündigen Treiben ein Ende machen. Misericordia fällt ihr in den Arm, 
Brüssel. Um 1520. München. Bayrisches National - Museum. 


MAN’S LIFE’S WAY. Justitia wants to put an end to sinful LA VIE DE L’HOMME. Justitia veut en finir de la conduite 
doings, Misericordia checks her arm. Brussels. About 1520. criminelle de ’homme. Misericordia l’en empéche. Bruxelles. 
Munich. Bayrisches National - Museum. Vers 4520. Munich. Bayrisches National -Museum. 


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90. DIE PARABEL VOM VERLORENEN SOHN. Brüssel. Um 1525. Amerikanischer Privatbesitz. 


Bruxelles. Vers 1523. 


Propriété particuliére américaine. 


LA PARABOLE DE L’ENFANT PRODIGUE. 


THE PARABLE OF THE PRODIGAL SON. Brussels. About 1525. 


New York private property. 





91. DAS GLEICHNIS VOM VERLORENEN SOHN. Brüssel. Um 1500. Paris. Musée de Cluny. 
Phot. Ed®€ Alinari. 


THE PARABLE OF THE PRODIGAL SON. Brussels. LA PARABOLE DE L’ENFANT PRODIGUE. Bruxelles. 
About 1500. Musée de Cluny. Paris. Phot. Ed" Alinari. Vers 4500. Paris. Musée de Cluny. Photo Ed®¢ Alinari. 


772 





92. “LEAULTE” REICHT MUTTER “PAIX” DEN NEUGEBORENEN “PRINCE DE LA PAIX”, 
Allegorie. Ausschnitt. Brüssel. Um 4350. Deutscher Privatbesitz. 


“LEAULTE” HANDS MOTHER “PAIX” THE “LEAULTE” PASSE LE NOUVEAU-NE “PRINCE 
NEW-BORN “PRINCE DE LA PAIX”. Allegory. DE LA PAIX” A LA MERE “PAIX”. Allégorie. 
Brussels. About 1530. German private property. 


Bruxelles. Vers 1550. Propriété particuliére allemande. 


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‘HOOWMODATIV AIYASSIAVL ASSTOVS VI AG INANADOL AT "AULSAAdVL TVOIMODUTIV NOUSIM AO INANIANF ATLL 


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95. GARTENTEPPICH. Flämische Manufaktur (Tournai?). Zweites Drittel 
des 16. Jahrhunderts. Wartburg. Phot. Dr. F. Stoedtner. 


GARDEN TAPESTRY. Flemish manu- VERDURE. Manufacture flamande 
facture (Tournai ?). Second third of the (Tournai?). Deuxieme tiers du XVI& 
46th century. Wartburg. Phot. Dr. F. siécle. Wartburg. Photo Dr. F. 


Stoedtner, Berlin. Stoedtner. 





96. GARTENTEPPICH. SIBYLLEN AM BRUNNEN. Flämische Manufaktur. Um 4550. 
Ehemalige Sammlung Mme G. LELONG. 


GARDEN TAPESTRY. SIBYL AT THE WELL. VERDURE. SIBYLLES A LA FONTAINE. 
Flemish manufacture. About 1350. Former Mme Manufacture flamande. Vers 4550. Collection 
C. Lelong collection. Jadis de M™e C, Lelong. 


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99. PUTTENSPIELE. Barocke Wiederholung der für Leo X. yon Peter van Aelst 1520 gelieferten Folge. 
Münchener Kunsthandel. (L. Bernheimer.) 


CUPIDS PLAYING. Baroque copy of the series delivered JEUX D’ENFANTS. Reproduction baroque de la tenture 
for Leo X. by Pieter van Aelst 1520. Munich Fine Art livrée en 1520 pour Léon X par Pieter van Aelst. 
Dealer. (L. Bernheimer.) Commerce d’objets d’art de Munich. (L. Bernheimer.) 





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100. PUTTENSPIELE. Brüsseler Wandteppich. Manufaktur des Wilhelm de Pannemaker. Mitte des 16. Jahrhunderts. 
Spanischer Staatsbesitz. Madrid. Palacio Real. 


CHILDREN GATHERING GRAPES. Brussels tapestry. Manufacture JEUX D’ENFANTS. Tapisserie de Bruxelles. Manufacture de Willem 
of William de Pannemaker. Middle of the 16th century. Spanish State de Pannemaker. Milieu du XVI siécle. Propriété de I'Etat d’Espagne. 
Property. Madrid. Palacio Real. Madrid. Palacio Real. 





101. PUTTENSPIELE. Brüsseler Wandteppich. Um 1550, angeblich nach einem Entwurfe Giulios Romano’s. 
London. Victoria and Albert Museum. 


CUPIDS PLAYING AMONG VINES AND FRUIT TREES. JEUX D’ENFANTS. Tapisserie de Bruxelles. Vers 1550, 
Brussels tapestry. About 1550. Said to be after a design of prétendu d’aprés un dessin de Jules Romain. Londres. 
Giulio Romano. London. Victoria and Albert Museum. Victoria and Albert Museum. 


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Brussels. Manufacture of Jan Raes. First third of the 17th century. 


Gobel, Wandteppiche 


104. VERTUMNUS UND POMONA. DER GOTT MIT DEM SPEER. Brüssel. Manufaktur des Jan Raes. 
Erstes Drittel des 47. Jahrhunderts. Magdeburg. Kaiser- Friedrich - Museum. 


Magdeburg. Kaiser - Friedrich - Museum. 


VERTUMNUS ET POMONE. LE DIEU AVEC LA LANCE. 
Bruxelles. Manufacture de Jan Raes. Premier tiers du XVIIEe 
siécle. Magdebourg. Kaiser-Friedrich - Museum. 


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105. VERTUMNUS UND POMONA. DER GOTT ALS OBSTPFLÜCKER. Manufaktur Brüssel. Mitte des 46. Jahrhunderts. 
Österreichischer Staatsbesitz. (Baldass; Die Wiener Gobelins- Sammlung.) 


VERTUMNUS AND POMONA. THE GOD GATHERING FRUIT. VERTUMNUS ET POMONE. LE DIEU CUEUILLANT DES FRUITS. 
Brussels manufacture. Middle of the 16th century. Austrian State property. Manufacture de Bruxelles. Milieu du XVIE siécle. Propriété de I’Etat d’Autriche. 


(Baldass; Die Wiener Gobelins- Sammlung.) (Baldass; Die Wiener Gobelins- Sammlung.) 








106. DIE FABELN OVIDS. PERSEUS BEFREIT ANDROMEDA. Manufaktur Brüssel. 
(Wilhelm de Pannemaker?) Zweites Viertel des 46. Jahrhunderts. Spanischer Staatsbesitz. 


OVIDS FABLES. PERSEUS DELIVERS ANDROMEDA. LES FABLES D’OVIDE. PERSEE DELIVRE ANDROMEDE. 
Brussels manufacture. (William de Pannemaker?) Second quarter Manufacture de Bruxelles. (Willem de Pannemaker?) Deuxiéme 
of the 46th century. Spanish State property. quart du XVIE siécle. Propriété de l Etat d’Espagne. 


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407. DIE GESCHICHTE DES AENEAS. Die Beisetzung des Rutulerkönigs Turnus. Manufaktur Brüssel. 
es Drittel des 46. Jahrhunderts. Spanischer Staatsbesitz. 


THE STORY OF EAS. The enterment of Turnus. Brussels manufacture. 


L’HISTOIRE D’ENEE. Les funérailles de Turnus, roi des Rutuliens. Manu- 
First third of the 16*4 century. Spanish State Property. 


facture de Bruxelles. Premier tiers du XVI siécle. Propriété de l’Etat d’ Espagne. 





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109. GESCHICHTE DER DANAE. Manufaktur Brüssel. Zweites Viertel des 16. Jahrhunderts. 
Ehemalige Sammlung R. von Kaufmann. 


STORY OF DANAE. Brussels manufacture. Second quarter L’HISTOIRE DE DANAE. Manufacture de Bruxelles. Deuxiéme 
of the 46th century. Former R. yon Kaufmann Collection. quart du XVI® siécle. Collection jadis de R. yon Kaufmann. 





140. TURNIER. Manufaktur Florenz. Ende des 46. Jahrhunderts. R. Palazzo Pitti. 
Phot. Ed®€ Alinari. 


TOURNAMENT. Florence manufacture. End of the LE TOURNOI. Manufacture de Florence. Fin du 
16th century. R. Palazzo Pitti. Phot. Edne Alinari. XVIE siécle. R. Palazzo Pitti. Photo Ed™e Alinari. 


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415, DIE TEILUNG DER ERDE. Allegorischer Wandteppich. Manufaktur Brüssel. 
Mitte des 16. Jahrhunderts. Spanischer Staatsbesitz. 


THE PARTITION OF THE EARTH. Allegorical LE PARTAGE DE LA TERRE. Tapisserie allégorique. 
tapestry. Brussels manufacture. Middle of the 4 6th Manufacture de Bruxelles. Milieu du X VI® siécle. Propriété 
century. Spanish State property. de l’Etat d’Espagne. 


AY LALTERIVSEABSTIGEPS 3mm 
D > << 





144. ATLAS ALS TRÄGER DES PLANETARIUMS. Allegorischer Wandteppich. Manufaktur Brüssel. 
Mitte des 16. Jahrhunderts. Spanischer Staatsbesitz. 


ATLAS AS BEARER OF THE PLANETARIUM. LA SPHERE ARMILLAIRE. Tapisserie allégorique. 
Allegorical tapestry. Brussels manufacture. Middle of Manufacture de Bruxelles. Milieu du XVIE siécle. 


the 16th century. Spanish State property. Propriété de l’Etat d’Espagne. 





115. DIE GESCHICHTE DER MADONNA. Gott-Vater entsendet Gabriel. Brüsseler Wandteppich. 


Beginn des 46. Jahrhunderts. Spanischer Staatsbesitz. 


THE STORY OF THE VIRGIN MARY. God the Father L’HISTORIE DE LA VIERGE. Dieu le Pére envoie Gabriel. 
sends Gabriel. Brussels tapestry. Beginning of the 4 sth century. Tapisserie de Bruxelles. Commencement du XVIE siécle. Propriété ; 
Spanish State Property. de I’Btat d’Espagne. 








446. DIE GESCHICHTE DER MADONNA. Gabriel übermittelt den göttlichen Auftrag. Brüsseler Wandteppich. 
Beginn des 16. Jahrhunderts. Spanischer Staatsbesitz. 


THE STORY OF THE VIRGIN MARY. Gabriel delivers the L’HISTORIE DE LA VIERGE. Gabriel transmet la mission 
divine message. Brussels tapestry. Beginning of the 4 ¢th century. de Dieu. Tapisserie de Bruxelles. Commencement du XVIE siecle. 
Spanish State Property. Propriété de I’Etat d’ Espagne. 


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147. MARIENLEBEN. Jesu Darbringung im Tempel. Manufaktur Brüssel. Erstes Drittel des 46. Jahrhunderts. 
Spanischer Staatsbesitz. 


LA VIE DE LA VIERGE. Presentation de Jésus dans le 
Temple. Manufacture de Bruxelles. Premier tiers du X VIE siécle. 
Propriété de l’ Etat d’Espagne. 


LIFE OF MARY. Jesus offering in the Temple. Brussels 
manufacture. The first third of the 46th century. Spanish 
State property. 


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119. DEM „HERRN“ IST ALLE MACHT ( 


Ehemalige Sammlung de Somzée. Gegenwärtig im Besitze der Musées Royaux du Cinquantenaire zu Brüssel. 


XVIE siöcle. Collection jadis de Somzée, Maintenant propriété des Musées 
Royaux du Cinquantenaire 4 Bruxelles. 


LE TRIOMPHE DU CHRIST. Tapisserie de Bruxelles. Premier tiers du 


First third of 


At present in the possession 


N TO THE LORD. Brussels tapestry. 


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120. DIE GREGORMESSE. Brüsseler Wandteppich. 4495. Einst im Besitze der Holzschuher zu Nürnberg. 
Nürnberg. Germanisches National- Museum. 


THE MASS OF ST. GREGORY. Brussels tapestry. 1495 LA MESSE DE SAINT GREGOIRE. Tapisserie de Bruxelles. 
Formerly in possession of the Holzschuher at Nuremberg. 1495. Jadis propriété des Holzschuher & Nuremberg. 
Nuremberg. Germanisches Nationalmuseum. Nuremberg. Germanisches Nationalmuseum. 


Göbel, Wandteppiche 





124. DAS ERLÖSENDE BLUT CHRISTI. Sogenannter Thronteppich Kaiser Karls V. Brüssel. 
Um 1520. Manufaktur des Peter de Pannemaker. Spanischer Staatsbesitz. Entnommen aus Don 
Juan de Valeneia, Tapices de la Corona de Espana. 


THE REDEEMING BLOOD OF CHRIST. So-called throne 

tapestry of emperor Charles V. Brussels. About 1520. Manufacture 

of Pieter de Pannemaker. Spanish State property. Taken from 
Don Juan de Valencia, Tapices de la Corona de Espana. 


LE SANG DU CHRIST REDEMPTEUR. Dit Tapisserie du 
tröne de l’empereur Charles Quint. Bruxelles. Vers 4520. Manu- 
facture de Pieter de Pannemaker. Propriété d’Etat d’ Espagne. 
Tiré de Don Juan de Valencia, Tapices de la Corona de Espana. 


Tht Tiefen as ft 
0 prmiecLrIRmM m1 





122. DAS LEBEN JOHANNES DES TÄUFERS. Der Jüngling nimmt Abschied und zieht in die Wüste. Brüsseler Wandteppich. 


Erstes Drittel des 46. Jahrhunderts. Spanischer Staatsbesitz. 


LIFE OF JOHN THE BAPTIST. The youth takes leave and goes LA VIE DE JEAN-BAPTISTE. Le jeune homme prend congé et 
into the desert. Brussels tapestry. First third of the 4 sth century. sen va dans le désert. Tapisserie de Bruxelles. Premiers tiers du 


Spanish State Property. XVIE siöcle. Propriété de Etat d’Espagne. 


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425. DIE SCHÖPFUNG. Brüsseler Wandteppich. Erstes Drittel des 16. Jahrhunderts. Schloß Haar. 


LA CREATION. Tapisserie de Bruxelles. Premier tiers du XVIE siécle. 


THE CREATION. Brussels tapestry. First third of the 16th century. 


Chateau Haar. 


Castle of Haar. 


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np JUSLIIIUAULUIOT) "sojjoxnag op aM JOR JNUe A ‘OdHY)D ad AIYYSSIdV.L -Aanyus9 m9 I oq jo Suruumog "OINPEINUBLL Sjossn.ig “AMLSAdV.L OdadyD 


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125. DIE ERSCHAFFUNG DER WELT. Briisseler Wandteppich. Beginn des 16. Jahrhunderts. 
Französischer Privatbesitz. (G. J. Demotte.) 


THE CREATION OF THE WORLD. Brussels tapestry. Beginning of 
the 16th century. French private property. (G. J. Demotte.) 


LA CREATION DE LA TERRE. Tapisserie de Bruxelles, Commencement 


du XVIE siécle. Propriété particulitre en France. (G. J. Demotte.) 


(enowed 'f 9) “eourry ua orgrnonaed gygudorg ‘9pQIs JJAX (enomeg ‘fx)) ‘Ajsedoad oyeatsd youorg "Aınyuoo mot 


np qusueoueumUor) “sofjoxnig op owassidey, LNVANT.T AC NOLLYYOAVT ayy Jo Zuruurdog “Ansodey spossnag “GTIHD AHL AO NOLLYYOAY AHL 


(oyomeg 'f “X)) “Misoqyeatig Joyosisozuesy 
‘sHopunqiyer “9 | sep uudog -yorddoypueay sopssnag “SHONIM SAC ONOLAINV AIG 91 


Ta et 








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127. DIE BÜHNE DES PASSIONSSPIELES VON VALENCIENNES. 1547. Nach Petit de Julleville. (Dr. G. Cohen, Geschichte 
der Inszenierung im geistlichen Schauspiel des Mittelalters in Frankreich. Leipzig. Verlag Dr. W. Klinkhardt. Tafel II.) 


THE STAGE OF THE VALENCIENNES PASSION PLAY. LA SCENE DU JEU LA PASSION DE VALENCIENNES. 

1547. After Petit de Julleville. (Dr. G. Cohen, Geschichte der 1547. D’aprés Petit de Julleville. (Dr. G. Cohen, Geschichte der 

Inszenierung im geistlichen Schauspiel des Mittelalters in Frank- Inszenierung im geistlichen Schauspiel des Mittelalters in Frank- 
reich. Leipzic. Dr. W. Klinkhardt, Publisher. Table IT.) reich. Leipzig. Verlag Dr. W. Klinkhardt. Table II.) 


480. 484. 482. DREI STICHE DES OTTO VAN VEEN. Entnommen aus den Emblemata Horatiana. 1684. 
180. Die Tugend triumphiert über alle Feinde. 484. Wohlleben endet in bitterer Reue. 
482. Das irdische Dasein eilt schnell dahin. 


THREE ENGRAVINGS OF OTTO VAN VEEN. Taken from TROIS GRAVURES D’OTTO VAN VEEN. Tirés des Emble- 
the Emblemata Horatiana. 1684. 180. The Vertues triumphing mata Horatiana. 1684. 480. La Vertue triomphe de tous ses 
over all enemies. 484. A life of Luxury ends in bitter repentance. ennemis. 484. La Vie de Délices se termine par amére repentance. 


182. The Terrestrial Existence passes rapidly away. 482. L’Existence Terrestre s’écoule yite. 


-euedsy op wuoaor) ef op seorde yp ‘eroueje, op uenf uog 


op gay, “ousedsy p 3e9q,] 
op Meudorg "opadı 


‘euedsy op euosory ef op sooıde, ‘erouspe, op uenf uog wos uoyez, “Ajzodorg 
al AX UP nor “Loyemouueg op oummejjine) op aanjoesnueyy 99898 ystuedg "Aanyuoo TOF 99 Jo APPIN “Loyeurouued op weipprag Jo omnjoesnue yy 
‚sopjoxnig op ottesside yz, ‘olsy,| ep sosı[39 dos xne asessour 9] “SqXTVWOOdV.1 “Aujsodey sjassnag "eIsy Jo soystaed uaaas ayy 0} oSessaur UL ASdATVOOdV AHL 





“euedsyp op euolor) eI op soorde J, ‘erouoye A op uenf uo(f she U9AWMULOUJUST 
"SIOPUnqIgef "9r Sop OWN “TO yeurouUe F 9p WIPO UTOAA sop ANJYE NUE], “qorddaypue A T9[9ssnıg 


zyısogqsperJg daypsıuedg 
SusIsy USPumsTy usgersZeipZueZgge yo T ag ZHSAATVMOAYEUICE SCH, 





-ousedssy p Luce op 9yp1rdorg “Opals 3JAX UP nom “Toyewouueg op Bwnejjine) ap -Ayıodorg EIS ysıuedg -Aınyu9d m9 b oy JO 9[Ppry ‘Joyeuouued op 
aimypoejnuefy “Sejfexnag op atszasstde J, "Syueudyur Sof JUTE sodur sogenb sy’ "ASdATVDOdV.TI WIEITJEAA JO singe jnue yy "Ansadey spossnag 'sppauy Mos 94) jo quomspne OTL “ASdATVOOdV WALL 


“ZISO SELIG Jotpostuedg spopunuagef “gp Sep OA 
‘LOyeulouUe | ap WIOUJLAA sop Injyeynue fy -yotddaypue A Topossn.ag ‘posuy I9TA Lop yypredyeayg se(] “ASdATVAOdV HId “6+ 





euy sup 4d euy auPA 34d 


“OIANO'T np jeuonen IHM “Esch SIO A sejjpinıg 9p OINOB/NUL TA YWHIN YA LNIWAINL WT “OTANO'T np [euonen 99a "Ertl mogYy "OINPEINUBUL Spessnaig "LNANIANT LSVT AHL 


WEUTV uPA Yd DLANOTT np JEUOHEN egsny “ETS WY ‘Essnag anyepnuen \LHDIYMAI) ALSONAL SVA ‘0st 





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soppxnag ep evassidey, “(NV.LVS) YOAHDAd TONV.T AG ALOHD VI puosag “Ansodey spossnug “((NV.LVS) THINV TOANIS AHL AO TIVA ATLL 


"uopneam) “JOU ‘SyyeL009p Say sep ogsny ‘sue 
aopungagep "gf Sop JewarA sopomz “qorddoypuery Jopessnag “(SNV.LVS) STIINH NADIGNOAS SAC ZUNLS WAC “Fst 


ern Pe ng in 4 wen: 
af Pe) N 
see 


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np uly “opueurey einjoenuey] "YIANITAS AG AONVSSIVN VI pug “eqhjoesnueut gstwoLg “YAWAACAY AHL AO WLYIG IHL 





msoqsyeeig aypstuedg “syrepunqayer “ep Sop opuy “aMyyesnueyy oypsturg "SIANVTIAH SAG LYAGI Ala 'zE1 


em 
a May. x 





pt ta 


NY 





154. DIE HEILIGEN DREI KÖNIGE. Flämische Manufaktur. Um 1550. 


Ehemalige Sammlung de Somzée. 


THE MAGI. Flemish manufacture. About 1350. LES TROIS MAGES. Manufacture flamande. Vers 1550. 
Former de Somzée Collection. Collection jadis de Somzée. 





155. DIE MYSTISCHE TRAUBE. Brüsseler Wandteppich. Erstes Drittel des 46. Jahrhunderts. 
New York. Metropolitan Museum of Art. 


THE MYSTIC BUNCH OF GRAPES. Brussels tapestry. LA GRAPPE MYSTIQUE. Tapisserie de Bruxelles. 
First third of the 46t® century. New York. Metropolitan Premier tiers du XVI® siécle. New York. Metropolitan 
Museum of Art. Museum of Art. 


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“INVANG.T Y XOVACVO SUM LNALNASTYd STIVN SIOWL SAT ‚spssnag “(TINO AHL OL SLNASYYd ONIYMIIIO POV AHL 


‘Jay jo umosnpy ueypodonayy “Y10K MON 
‘spopunqaqer 9} Sep op "Pssmag “YVC IMNAHISAI AGNIM WIE NTINIYI AOINOM [AUG NAOVTAH ATG “£st 





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} i ı ae 4 : N as Se! xv CER ROMY TTI 


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157. DAS LEBEN JESU. Der Heiland weist Thomas die Wundmale. Flämische Manufaktur. Um 1350. 
Paris. Musée des Arts décoratifs. Phot. A. Giraudon. 


THE LIFE OF JESUS. The Redeemer shows Thomas the wound. 
Flemish manufacture. About 4530. Paris. Musée des Arts décoratifs, 
Phot. A. Giraudon. 


LA VIE DU CHRIST. Le Seigneur montre les marques de ses plaies 
4 Thomas. Manufacture flamande. Vers 1550. Paris. Musée des Arts 
décoratifs. Phot. A. Giraudon. 





158. DIE KREUZTRAGUNG. Manufaktur Brüssel. Erstes 
Erzbischöfliches Gymnasium zu Trient. 


Viertel des 16. Jahrhanderts. 


CARRYING THE CROSS. Brussels manufacture. First quarter of the JESUS SUR LE CHEMIN DU CALVAIRE. 


Manufacture de Bruxelles. 
16th century. Archiepiscopal Gymnasium at Trent. Premier quart du XVIE siécle. Gymnase a 


rchiépiscopal 4 Trente. 





159. DIE KREUZIGUNG. Manufaktur Brüssel. Zweites Viertel des 46. Jahrhunderts. 


Amerikanischer Privatbesitz (George Blumenthal, New York ). 


THE CRUCIFIXION. Brussels manufacture. Second LE CRUCIFIEMENT. Manufacture de Bruxelles. Deuxiéme 
quarter of the 46t® century. American private property quart du XVI siécle. Propriété particuliére en Amérique 
(George Blumenthal, New York). (George Blumenthal, New York). 





140. DIE KREUZESABNAHME. Brüsseler Bildteppich. Um 1535. 
Ebemalige Sammlung M™E€ C. Lelong. 


THE DESCENT FROM THE CROSS. Brussels LA DESCENTE DE LA CROIX. Tapisserie de 
tapestry. About 4555. Former Mme Q. Lelong Bruxelles. Vers 4555. Collection jadis de Mme 
Collection. C. Lelong. 





141. DIE AUFERSTEHUNG. Manufaktur Brüssel. Um 1525. 


Ehemalige Sammlung de Somzée. 


THE RESURRECTION. Brussels manufacture. LA RESURRECTION. Manufacture de Bruxelles. 


About 1525. Former de Somzée Collection. Vers 1525. Collection jadis de Somzée. 





1 


42. DIE WUNDER DES HEIL. CLAUDIUS. Manufaktur Brüssel. 
Erstes Drittel des 16. Jahrhunderts. Boston. Museum of Fine Arts. 


THE MIRACLE OF THE HOLY CLAUDIUS. LES MIRACLES DE ST. CLAUDE. Manufacture 
Brussels manufacture. First third of the 46th century. de Bruxelles. Premier tiers du XVIE sidcle. Boston. 
Boston. Museum of Fine Arts. Museum of Fine Arts. 


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ap PLA, OUN Issne HAnom as ast[s9,] ep Uorssossod UY “ourpyer) AG estoy 


“uoppensdoog “OEE SoA Opurwey onside, WY LACVSITA ILS AC ALA VI 


"SYJIMp UOUNUTEJSJU ANZyesNUe yy, watporays dop 


sanpejnueu owes oy} Jo Atqeqoad st youyM Youngs ayy yo uorssassod oy} ur 
„‚Auoyuy 4S JO IT, & ospe st ao, “Younyo ouLrayyer) IS “wojoeryssooy] 
‘oegr moqy “Ansodey qstwoLg “HLAGVZITA INIVS AO AT AHL 


sep ° ,sntuoguy 4G sop Uoqor[** Ura Jousey [ots Jopuyoq 


PAY Op oso WL “Opry -woULETEY WG “vojoeyssooyy] “QEey WY “yorddoypury soyosiu_T “HLAAVSITA “WAT WAG NAGA SVC ‘Stl 


ae a ad oe | 





‘ouseds:y p WITT Op ajgudoig ‘opueuey “Aytodorg ayeyG ystuedg -oanjoeynueut ysrarey yp 
anjoenueyy “ATOMS af AX Od SHALL YAINAYd AV AIVIOOS ALA ANIINAD 9h WAL AO AMIIL LSY AML NI AAT "IVDOS 


“‘zysogsyerygG sJoyostuedg -anjyeynueyy otpostuep yp 
"STYUJaANAHAYHVE 9F SHC THLLIYCG NILSYI WE NASAL SHHOTILAVHOSTIASHD 64h 








444. DIE 42 MONATE DES JAHRES. JANUAR. Manufaktur Brüssel. Zweites Viertel des 16. Jahrhunderts. 
Rom. Palazzo Doria. Phot. Edne Alinari. 


THE 42 MONTHS OF THE YEAR. JANUARY. Brussels LES 42 MOIS DE L’ANNEE. JANVIER. Manufacture de 


manufacture. Second quarter of the A6tK century. Rome. Bruxelles. Deuxitme quart du XVI siécle. Rome. Palazzo 
Palazzo Doria. Phot. Edne Alınari. Doria. Phot. Edne Alinari. 


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145. DIE 42 MONATE DES JAHRES. FEBRUAR. Manufaktur Brüssel. Zweites Viertel des 46. Jahrhunderts. 
Rom. Palazzo Doria. Phot. Ed™& Alinari. 


THE 142 MONTHS OF THE YEAR. FEBRUARY. Brussels LES 12 MOIS DE L’ANNEE. FEVRIER. Manufacture de 
manufacture. Second quarter of the 46th century. Rome. Bruxelles. Deuxiéme quart du XVI siecle. Rome. Palazzo 


Palazzo Doria. Phot. Ed™€ Alinari. Doria. Phot. Edn® Alinari. 


f 


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146. DIE 12 MONATE DES JAHRES. JULI. Brüssel. Mitte des 46. Jahrhunderts. 
Paris. Ehemalige Sammlung Seligmann. 


pr 


THE 42 MONTHS OF THE YEAR. JULY. Brussels. LES 12 MOIS DE L’ANNEE. JUILLET. Bruxelles. 
Middle of the 46) century. Paris. Former Seligmann Milieu du XVI® siecle. Paris. Collection jadis de 


Collection. Seligmann. 


ie 
Sea 


pep 275 
KARTEN 


es 


CAN Say 


ts 





147. DIE 42 MONATE DES JAHRES. OKTOBER. Brüssel. Mitte des 16. Jahrhunderts. 
New York. Metropolitan Museum of Art. 


THE 12 MONTHS OF THE YEAR. OCTOBER. 
Brussels. Middle of the 46th century. New York. 
Metropolitan Museum of Art. 


LES 142 MOIS DE 
Bruxelles. Milieu du 
Metropolitan 


L’ANNEE. OCTOBRE. 
XVIE siöcle. New York. 
Museum of Art. 


‘Joy ary op sıpel Toro) “sued “OYE | Sl9A (¢ eUBeUATTY Uo 9489 “uon9ajjor) Aoy ary aounıo7 ‘SIR “OYE moqy (¢Aueutary ur 


“Äsodey ysuwopg INH INVHda Ta 


Stoyfaxnaq oarepy) “opuewrey orsosside [, “INVHd 1a. ¥ ASSVHD popeasıua 1ajseu sjassnig ) 
‘doy oy Zunpwurg odırewaysg “sled 
‘qorddaypur ay soyoseumpy “(EQyr NALNVAYTI “84 b 


“OTEk un) ec) (\ Topossnag: Ja} topueMossne puelyosyne (gy qr ) 








LLSCHAFT. Fragment. Flämische Manufaktur. Um 1550. 


LNDE GESE 


\DE 





des Arts décoratifs. 


see 


Tu 


N 


Paris. 


1550. 


Vers 


Manufacture flamande. 


Fragment. 
Musée des Arts décoratifs. 


NADE. 


N PROME 


SOCIETE E 


About 1550. 


h manufacture. 


1s 


lem 
Musée des Arts décoratifs. 


Fragment. F 


PARTY. 


I 


STROLLIN( 


Paris. 


Paris, 


i 
f 
=; 

3 
A 


Victoria and Albert Museum. 


SUSANNA AND THE ELDERS. Flemish tapestry. About 1500. 
London. Victoria and Albert Museum. 





. SUSANNA UND DIE’ALTEN. Flämischer Wandteppich. Um 1300. London. 


SUZANNE ET LES VIEUX. Tapisserie flamande. 
Londres. Victoria and Albert Museum, 


Vers 1500. 





P ILL Op 


"ISOIASJELIG 


Joqostuedg 





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JMUEIN NIGYVE Ad ANAS 


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“Maodoag 


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Göbel, Wandteppiche 





NE \ 


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RP VERTTZE CSE, TORE TTR. TEE NSE. EE 








155. LUSTGARTEN UND WILDPARK. Aus Joseph Furttenbachs Architeetura eivilis. (1628.) 


PLEASURE GROUNDS AND GAME PRESERVES. Taken JARDIN DE PLAISANCE EV PARC. Tiré de l’Architeetura 
from Joseph Furttenbach Architeetura ciyilis, (1628.) civilis de Joseph Furttenbach. (1628.) 


HORTVS A MAGNIFICO ET 

NOBILI VIRO IOANNE SWIN 

DIO PRA.TORE ET SENATORE 

Moeno-Francofortano conchHatus ex: 
teuctas eedificanss. 





N 


4. GARTEN DES FRANKFURTER BÜRGERMEISTERS SCHWINDT. 
München. Staatliches Kupferstich-Kabinett. 


15 


GARDEN OF THE FRANKFURT BURGOMASTER JARDIN DU MAIRE DE FRANCFORT SCILWINDT. 
SCHWINDT. Munich. Staatliches Kupferstich-Kabinett. Munich. Staatliches Kupferstich-Kabinett. 


Ee 


ne RO 


AN 


ta 





155. DIE FESTE HEINRICHS III. VON FRANKREICH. Wasserkämpfe. Manufaktur Brüssel. 
Zweite Hälfte des 16. Jahrhunderts. Florenz. R. Galleria degli Arazzi. Phot. Ed™@ Alinari. 


THE FESTIVITIES OF HENRY Ill. OF FRANCE. Aquatic LES FETES DE HENRY III ROI DE FRANCE. Combats sur 
combats. Brussels manufacture. Second half of the 16th century. eau. Manufacture de Bruxelles. Deuxiöme moitié du X VIE siecle. 
Florence. R. Galleria degli Arazzi. Phot. EdN® Alinari. Florence. R. Galleria degli Arazzi. Phot. EdN® Alinari. 


n 


‘ousedsy p WILL OP 9yprıdo. 
"sojjoxnag 


MON td POIs SITAX AP gyTouL swarmed ‘Aqedorg ayryg ystuedg 
ap ampenueNy “WTOOWdd AG AWAINVIN NY AMOCWIA ‘Aamquoo LY OM JO JY Puoveg 'spssnag “LYLSAdV.L VIODWAd 


“ZYLSI SPECS Jatjostuedg ‘Sjopuntayep 2] sop OVE OIOM ZT "pssnug Inyyemury WOldda. LV lODYWAd "90% 


SS 
= 


ion we 


= 


en "a 


" > tae 








-ousedssy p WIT. Op moudorg ‘apogts TAX np nor i aodoag US ystuedg 
soppxnıg op empemurn “VTOOWd Ad AYWAINVIN NT AWOCGYaA “Amu99 WADE OM JO APPIN "Vanpejnueu spossnıg “LYLSAdV.L VIOYYII 


“ZYISI SPEC Joqpostuedg “SPOpuUntrye py gr Sop Sy “poss, Tye JNU] WOolddt LYVIODOWId “Ter 





Cuyog N” Jousnefy fr) “Ul[1og, op We p sjalqo.p IIIWUOT) (Cuyog N JOUSNEIY ip) *sdo[eo(] Wy Sur] “Ulplog 
“a[DgIs allAX Ip JUIALIIIUOAUNLLOT) ‘opueureyy IINPEINURN "NIGYVL Ad ANTIS *Aanquao m4 I 949 jo Suruurdog “oANJOVJ NUL JA] (STULO [oT AMLSHAVL NHAOYMVD 


Cuyog N sousnepy {P) *‘jepueqysuny TOUuIog SpIOPUuntIgeef "7 } sop uulseg “AINA ye INT], SUISTLURTT “HDI ddd LNUALYV) “Sct 





NIUIPIOG LWA Joy “Panoqyae Ay OP WAC joy “Banque, Aanyuos 
“OPS TAX UP SION oMIQIXNa] “(ZeUMOL) IF? JO paup Puovag “(¢,teuano],) aan) 
opuemey 9rnoeznueg NIGUVE Ad ANYIS “PUB yey =“ AWLSAdV.L NACUVO 


TOUP9IOIG AI Aq ‘Ud “BANAL AA *S}.Lo punt rtye f° “Op Sop 
PHU syOMZ -(greumo,) mfeznurg astUELT “TOTddAINALAV) “094 


Culog YY sgousnepy 'f) “ultog ep yae_p syalqo p 


YILIUUOT) 


pur Smpejnue “NIGUVE AC ANOS 


(Cuyog y aausney ft) “sda 
PR sITAX Bp queursouaiuurory 


Cuqos x» TOUSNE] YE it) "Pppuegjsuny TUIOg 
spopungagep “Ly sep wurdog vampyesnueyy OtpsturLg "TIIIAALLNSLUVD "681 


Yemen 


* 


vu 





JIy OULT "uraog "Arnyuoo MLE 9 Jo Suruuog 
DANPR MUCH SIUOLT "AULSIAVL NAGY) 





eroppy Ue esgynonted gygtdorg “apeis g[AK np mom “Aqodoad ayeatd weunor) “Lanyuoo TIF 2 Jo seq puoveg 
sopppxnag “puoy np omıed oun p uononpoadoy "AVST LY HODVE sppssnag “punoasypeq ayy Jo yaed v yo uononpoadoy ‘AVSH GNV JODVE 





una (| 


"ZUSOJBALLT TITPISTNIG *S}1oO PUNTA "9% sop OEE OWOMZT "pssmig "SOPUNLOAOJULTT sop sofa] SOUTI 9.09 POL AN, 





LEO Sy Leo 





= 
Ri) 
Led 
ce 


PSE TAL 





162. DER WILDGARTEN. Flämische Manufaktur. Zweite Hälfte des 46. Jahrhunderts. 
Spanischer Staatsbesitz. 


THE GAME PARK. Flemish manufacture. Second 
half of the 16th century. Spanish State Property. 


LE PARC. Manufacture flamande. Deuxiéme moitié 


du XVIe siécle. Propriété de I’Etat d’Espagne. 





165. DER WILDGARTEN. Manufaktur Brüssel. Um 1560. Berliner Kunsthandel. 
( Altkunst-Margraf & Cie.) 


THE GAME PARK. Brussels manufacture. About 1560. LE PARC. Manufacture de Bruxelles. Vers 1560. Com- 
Berlin. Fine Art Dealers. (Altkunst-Margraf & Cie.) merce d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 


‚susewojy Uo oapıpnomaed gygridorg “opats aL AX (é) soppxnag ap ‘Aqiodoad oyearıd uruner) “Aanjuas mI! (6) “anjorjnuew spossnag 
peu HOIVSAVd CNOA OFAV POVITTAGT GNVYD Y TYUQAUHA ‘CN VOWOIMOVEA HAVISANVT HEIM SYOGYIA GHAVAT-TIUVI 


‘MOGI Loqosjnaq “jopunqayee ‘gr 
(é) PSsmag myyeznueg -“GQNOWOMALNIA: NIHOTTLAVHDISANVT LUN AUNAMAA TITAULLVIISSOYD) “194 





udewopy Ua oagımanmd 9y9udorg “QP Lp SIOA ‘Aptodoad ayeartd ueunor) “QP, y jnoqy 
“UdIJOL) AP UBA TOoefe op Du 
dee over 





ue], Steauy “NOTIOdV.d AYIOLSIN “wor, Top ULA qooep jo oanjovynueyy “dromuy “OTTIOdV AO AUOLS 


“ZUSO GICAL TOTOSINI (T] "Or u) "U9J0r) Top UA qoyer sop ANZ ye PNUe TL ‘uedre Mju ‘“OTIOdV Sad A.LHDIHISAD "c9} 








166. DIE VIER JAHRESZEITEN. DER SOMMER. Brüssel. Manufaktur des Jan Frans yan den Hecke. 
Ende des 17. Jahrhunderts. Berliner Kunsthandel. (J. Klausner & Sohn.) 


THE FOUR SEASONS. SUMMER. Brussels. Manufacture LES QUATRE SAISONS. L’ETE. Bruxelles. Manufacture 
of Jan Frans van den Hecke. End of the 47th century. de Jan Frans van den Hecke. Fin du XVII sidele. 
Berlin. Fine Art Dealers. (J. Klausner & Sohn.) Commerce d’objets d’art de Berlin. (J. Klausner & Sohn.) 





167. DIE VIER JAHRESZEITEN. DER WINTER. Brüssel. Manufaktur des Jan Frans yan den Hecke. 
Ende des 17. Jahrhunderts. Berliner Kunsthandel. (J. Klausner & Sohn.) 


THE FOUR SEASONS. WINTER. Brussels. Manu- LES QUATRE SAISONS. L’HIVER. Bruxelles. Manufac- 
facture of Jan Frans van den Hecke. End of the 17th ture de Jan Frans yan den Hecke. Fin du XVIIE siecle. 
century. Berlin. Fine Art Dealers. (J. Klausner & Sohn.) Commerce d’objets d’art de Berlin. (J. Klausner & Sohn.) 


“LOUUOLG [LOFT moey op sıpel “WON Ir) FOUUOIg[LoTT 
Gora ][07) “9PPVIS gT TAX Up PLOW LOLlod *soypoxnag: op OANJIEJNUC TY [hoey TOULLO ‘Amjueo mL r 2? so JTEY SIT “oINjOe J NUCL s[ppssnag 


‘OAITANORE Ad "IVNIOQYVD Od SINYMV XAY ANOLLYOA AMTAHOITE TVNIGYUVD AO SWYV-AO-LVOD ILLIA ODLLYOA 


“LOUD OLG[LOFT moey Sunjuueg asyeuayy 


SOPUNIEL ZH SOP OIL OST PSSDIg mpyeyouryy, "NITIHIIY STYNIGUVM SA NaddVAA NAC LIN SQMLLWOd '891 


™ 


x ER = 4 er 3 et a ; 
= SE a Se = 


—— 








Z 
= 5 
as 
RD 
os 
= 
> 3 
a < 
3 5 
© 
= 
Z= 
Os 
sn 
Sie) 
ee 
er 
2 Bh 
Se 
re 
Ze 
<5 
[77] 
Sa 
Re 
Ons 
kt To 
50 
N. 
2 = 
Mm 8 
No 
ma 
As 
ns 
a 
Ex} 
Ba 
i 2 
=. 
= 
j=) 7 
ae 
<A 
> 
= 
S 
> 
= 


APIS DE TABLE HERALDIC 


DAN 


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Aschaffenburg. Photo 


Aschaffenburg. 


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Netherland work. Schloß Aschaffenburg. Phot. C. Samhab 


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170. TISCHDECKE. Niederländische Manufaktur. Erste Hälfte des 47. Jahrhunderts. 


Karlsruhe. Kunstgewerbemuseum. 


TAPIS DE TABLE. Manufacture des Pays-Bas. 
Premiere moitié du XVIIE siécle. Carlsruhe. 
Kunstgewerbemuseum. 


TABLE COVER. Netherland manufacture. 
First half of the 17th century. Carlsrube. 
Kunstgewerbemuseum. 





174. GESCHICHTE DER ARTEMISIA. Paris. Manufaktur des Frans van der Planken. 
Um 1620. Bayrischer Staatsbesitz. München. Phot. Riehn & Reusch. 


STORY OF ARTEMISIA. Paris. Manufacture of Frans HISTOIRE D’ARTEMISE. Paris. Manufacture de Frans 
van der Planken. About 1620. Bavarian State Property. van der Planken. Vers 1620. Propriété de VEtat de 
Munich. Phot. Riehn & Reusch. Baviére. Munich. Phot. Riehn & Reusch. 


tt 


TEN 





172. GESCHICHTE DES THESEUS. Brüssel. Manufaktur des Jan Raes d. J. 
Um 1650. Spanischer Staatsbesitz. 


STORY OF THESEUS. Brussels manufacture of Jan HISTOIRE DE THESEE. Bruxelles. Manufacture de Jan 
Raes d. J. About 1650. Spanish State Property. Raes le jeune. Vers 1650. Propriété de I’Etat d’Espagne. 





176. DAS LEBEN DES MENSCHEN. Die Zeit verjagt die Freuden des Lebens. Brüssel. 
Manufaktur des Frans van den Hecke. Um 4650. Spanischer Staatsbesitz. 


THE LIFE OF MAN. Time drives away the joys of life. LA VIE DE L’HOMME. Le Temps chasse les joies de 
Brussels. Manufacture of Frans van den Hecke. About 4650. la Vie. Bruxelles. Manufacture de Frans van den Hecke. 
Spanish State Property. Vers 1650. Propriété de l’ Etat d’Espagne. 





174. EPISODE AUS DEM ,,BEFREITEN JERUSALEM“. Manufaktur Aubusson. Um 1700. 
Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


EPISODE FROM THE “DELIVERED JERUSALEM ”. EPISODE DU “JERUSALEM DELIVRE”. Manufacture 
Aubusson'manufacture. About 4700. Berlin Fine Art Dealers. d’Aubusson. Vers 1700. Commerce d’objets d’art de Berlin. 
(Altkunst- Margraf & Cie.) (Altkunst-Margraf & Cie.) 





175. DIE ALLEGORIE DES GEIZES. GOTT AMOR BEIM WECHSLER. Brissel. 
Manufaktur des Frans van den Hecke. Um 1650. Spanischer Staatsbesitz. 


THE ALLEGORY OF AVARICE. CUPID AT THE L’ALLEGORIE DE L’AVARICE. LE DIEU AMOUR 
MONEY CHANGER’S. Brussels. Manufacture of Frans CHEZ LE CHANGEUR. Bruxelles. Manufacture de Frans 
van den Hecke. About 1650. Spanish State Property. van den Hecke. Vers 1650. Propriété de l’Etat d’Espagne. 


“HOY "HOG “Brequioyan A, op Pe ep 9pudorg “OTD SOA “MOY H 904g “Ajtodoag ayejyG BrIoquoynay "079 qnoqy 
“uoyuejg top ueA suerq op Sunpeznuey “seg ‘OMIT YOLSVd ‘woyue[ Jop wea ster jo oampejnueg ste “OMIA MOLSVA 


‘Ho"Y 'H youd “ZUISA SEIS AOOSTSLO ALINA AA, "0391 wy) "uoyueLg d9p ueA sure] sop Anjyesnue yy “SIIE I ‘OdIA MOLSVd “GLb 





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‘SOPXMTG AINNAITVLI ALGANOD VI POS ‘sjessnig 'AAANODNVITIV.LI assed vLIopıA "SAN SOOT AG AMIO.LSTH.T oq} Spue Bro “SNOW SOIOAd AO AYOLS 





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SOP [PHM] SEM "ssnıg "TIAOWOM IHISINAITV.LI 62 uensodorg uop ewoy WET eoprA “SAW SAIIAL SAM ALHOINDSAD ‘81 











177. DAS LEBEN DES MENSCHEN. DER TRIUMPH DES TODES. Brüssel. 


Wahrscheinlich aus der Manufaktur des Frans van den Hecke. Um 1650. Deutscher Privatbesitz. 


THE LIFE OF MAN. THE TRIUMPH OF DEATH. LA VIE DE L’HOMME. LE TRIOMPHE DE LA MORT. 
Brussels. Probably from the manufacture of Frans van Bruxelles. Probablement de la manufacture de Frans van 
den Hecke. About 1650. German private property. den Hecke. Vers 4650. Propriété particulitre en Allemagne, 





185. TIGERJAGD. Manufaktur Brüssel. Um 1650. Berliner Kunsthandel. ( Altkunst - Margraf & Cie.) 


TIGER HUNT. Brussels manufacture. About 4650. Berlin Fine Art LA CHASSE AU TIGRE. Manufacture de Bruxelles. Vers 1650. 
Dealers. ( Altkunst-Margraf & Cie.) Commerce d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 





185. WAPPENTEPPICH DER AYALA, GRAFEN VON FUENSALIDA. Brissel. 


Manufaktur des G. yan Leefdael. 


1684 von David Teniers III. 


Münchener Kunsthandel. (L. Bernheimer.) 


ESCUTCHEON TAPESTRY OF THE AYALA, 

COUNTS OF FUENSALIDA. Brussels. Manu- 

facture of G. van Leefdael. Designed 1684 by 

David Teniers ITI. Munich. Fine Art Dealer. 
(L. Bernheimer.) 


TAPISSERIE AUX ARMES DES AYALA, 

COMTES DE FUENSALIDA. Bruxelles. Manu- 

facture de G. van Leefdael. Esquissée 1684 par 

David Teniers III. Commerce d’objets d’art de 
Munich. (L. Bernheimer.) 





186. BRÜSSELER WANDTEPPICH. Entworfen 1684 von David Teniers 111. 
Französischer Privatbesitz. 


BRUSSELS TAPESTRY. Designed 1681 by David TAPISSERIE BRUXELLOISE. Esquissée 1684 par 
Teniers III. French private property. David Teniers III. Propriété particuliére en France. 


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184. DIE JAGDEN MAXIMILIANS. La Curse. Der Hundeteil. Brüssel. Um 4555. Paris. Musée National du Louvre. Phot. Giraudon. 


Vers 4555. 


Bruxelles. 
Giraudon. 


Phot. 


Paris. Musée National du Louvre. 


LES CHASSES DE MAXIMILIEN. La Curse. 


part. Brussels. 


Phot. Giraudon. 


About 4535. Paris. Musée National du Louvre. 


THE HUNTS OF MAXIMILIAN. La Curse. The hound 











487. DIE GESCHICHTE DES DON QUIJOTE. Niederländische Manufaktur. 


Letztes Drittel des A8. Jahrhunderts. Münchener Kunsthandel. (L. Bernheimer.) 


THE STORY OF DON QUIJOTE. Flemish manu- L’HISTOIRE DE DON QUIJOTE. Manufacture des 
facture, Last third of the 148*® century. Munich Fine Pays-Bas. Dernier tiers du XVIII® siécle. Commerce 


Art Dealer. (L. Bernheimer. ) d’objets d’art de Munich. (L. Bernheimer.) 


“TeUINO T, op SjeIppuger) “COVE 9197 SLIOLT 


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189. DIE SAGE DES JOURDAIN DE BLAYE. Manufaktur Arras. Beginn des 15. Jahrhunderts. 


Padua. Museo Civico. Phot. EdN® Alinari. 


THE SAGA OF JOURDAIN DE BLAYE. Arras manufacture. LE GESTE DE JOURDAIN DE BLAYE. Manufacture d’Arras. 
Beginning of the {5th century. Padua. Museo Civico. Phot. Ede Commencement du XV® siécle. Padoue. Museo Civico. Phot. Eane 
Alinari. Alinari. 


Göbel, Wandteppiche 





190. LIEBESTEPPICH. Manufaktur Arras. Beginn des 45. Jahrhunderts. 
Paris. Musée National du Louvre. Phot. Ed™e€ Alinari. 


SCENE FROM AROMANCE. Arras manufacture. Beginning SCENE D’AMOUR. Manufacture d’Arras. Commence- 
of the 45th century. Paris. Musée National du Louyre. ment du XVE€ siécle. Paris. Musée National du Louvre. 
Phot. EdN€ Alinari. Phot. Edne Alinari. 


Saal " 


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A 





191. DER ROSENROMAN. Fragment. Manufaktur Tournai. Um 4440. 
New York. Metropolitan Museum of Art. 


THE ROMANCE OF ROSES. Fragment. Tournai 
manufacture. About 4440. New York. Metropolitan 
Museum of Art. 


LE ROMAN DES ROSES. Fragment. Manufacture 
de Tournai. Vers 4440. New York. Metropolitan 
Museum of Art. 


‘098 ery Pfeıppugen "apoyger) 0989 ey 
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195. EPISODE AUS. EINEM ZEITGENÖSSISCHEN ROMAN. Fragment. 
Manufaktur Arras. Um 4420. Paris. Musée des Arts décoratifs. 


EPISODE FROM A CONTEMPORARY ROMANCE. EPISODE D’UN ROMAN. Fragment. Manu- 
Fragment. Arras manufacture. About 4420. Paris. facture d’Arras. Vers 1420. Paris. Musée des 
Musée des Arts décoratifs. Arts décoratifs. 





sel. 


Briis 


Manufaktur 


N. 


ige Sammlung Mme C. Lelong. 


hemali 


ME 


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des 46. Jahrhunderts. 


Er 


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JARDIN AVEC DES CA 


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Brussels manufacture. First third of the 46t4 century. 


Y 


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GARDEN ( 


E, 


F 


Lelong. 


Collection anncienne de Mme C 


XVIE siécle. 


Mme C. Lelong Collection. 





197. WAPPEN AUF GARTENGRUND. Manufaktur Tournai. Erstes Drittel 
des 16. Jahrhunderts. Münchener Kunsthandel. (L. Bernheimer.) 


COAT OF ARMS ON GARDEN GROUND. Tournai ARMES SUR FOND DE JARDIN. Manufacture de 
manufacture. First third of the 46t® century. Munich Tournai. Premier tiers du XVI® siécle. Commerce 
Fine Art Dealer. (L. Bernheimer.) d’objets d’art de Munich. (L. Bernheimer.) 





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kent LE eh. Auten “Se 


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200. DIE SCHWANENRITTERSAGE. Manufaktur Tournai. Um 4460. 
Katharinenkirche zu Krakau. 


THE SAGA OF THE SWAN KNIGHT. Tournai manufacture. LE GESTE DU CHEVALIER AU CYGNE. Manufacture de 
About 4460. St. Catherine’s Church at Cracau. Tournai. Vers 4460. Eglise de Sainte Catherine ä Cracovie. 


“OITYSUOAD(T ap "OITUSUOAOLT jo 


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201. DIE ALEXANDERSAGE. Ausschnitt. Manufaktur Tournai. Um 4439. 


Rom. Palazzo Doria. Phot. Ed@¢ Alinari. 


THE SAGA OF ALEXANDER. Tournai manufacture. About 4459. LE GESTE D’ALEXANDRE. Partie gauche. Manufacture de 
Rome. Palazzo Doria. Phot. Edne Alinari. Tournai. Vers 4459. Rome. Palazzo Doria. Phot. Ed™& Alinari. 





207. HERR UND DAME VOR EINEM ZELT. Manufaktur Tournai. Um 4460. 


Sammlung des Grafen de Valencia. 


LADY AND GENTLEMAN IN FRONT OF A TENT. CAVALIER ET DAME DEVANT UNE TENTE. 
Tournai manufacture. About 4460. Count de Valencia’s Manufacture de Tournai. Vers 4460. Collection du 
collection. Comte de Valencia. 


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Bern. Historisches Museum. 


210. DIE GESCHICHTE TRAJANS UND HERKINBALDS. Manufaktur Tournai. 


L’HISTOIRE DE TRAJAN ET D’HERKENBALD. Manufacture de Tournai. 


THE STORY OF TRAJAN AND HERKINBALD. Tournai manufacture. 


Vers 1450. Berne. Musée Historique. 


Historical Museum. 


About 4450. Berne. 





214. DIE ANBETUNG DER HEILIGEN DREI KÖNIGE. Manufaktur Tournai. Um 1450. 


Bern. Historisches Museum. 


THE ADORATION OF THE MAGI. Tournai W’ADORATION DES TROIS MAGES. Manufacture 


manufacture. About 1450. Berne. Historical Museum. de Tournai. Vers 1450. Berne. Musée Historique. 


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215. DES HEILANDS VERGELTUNG. DER KAISERLICHE BOTE VOR PILATUS. 


Manufaktur Tournai. Um 4460. Wien. Österreichisches Museum für Kunst und Industrie. 





THE REPAYMENT OF THE REDEEMER. THE LA VENGEANCE DU SEIGNEUR. LE MESSAGER 
IMPERIAL MESSENGER BEFORE PILATE. Tournai DE L’EMPEREUR DEVANT PILATE. Manufacture de 
manufacture. About 1460. Vienna. Österreichisches Tournai. Vers 4460. Vienne. Österreichisches Museum 


Museum für Kunst und Industrie. für Kunst und Industrie. 





217. DAS LEBEN DES HEIL. PETRUS. Manufaktur Tournai. 1460. 
Paris. Cluny Museum. Phot. Ed? Alinari. 


THE LIFE OF ST. PETER. Tournai manufacture. LA VIE DE ST. PIERRE. Manufacture de Tournai. 
1460. Paris. Cluny Museum. Phot. Edt® Alinari. 1460. Paris. Musée de Cluny. Phot. EdN® Alinari. 


he 





218. DIE SPEISUNG DER 5000. Manufaktur Tournai. Ende des 13, Jahrhunderts. 
Paris. Musée du Louvre. Phot. Ed" Alinari. 


THE FEEDING OF THE 5000. Tournai manufacture. LE SEIGNEUR RASSASIE LES 5000. Manufacture 
End of the 145th century. Paris. Musée du Louvre. de Tournai. Fin du XVe siecle. Paris. Musée du Louvre. 
Phot. Ed®& Alinari. Phot, Ed” Alinari. 





219. DIE PASSION. Ausschnitt. Manufaktur Brüssel (2). Um 4480. Brüssel. Musées Royaux du Cinquantenaire. 
Ehedem Sammlung de Somzée, 


THE PASSION. Detail. Brussels manufacture (2). About 1480. LA PASSION. Partie centrale. Manufacture de Bruxelles (2). 
Brussels. Musées Royaux du Cinquantenaire. Former de Somzée Vers 1480. Bruxelles. Musées Royaux du Cinquantenaire. Jadis 
Collection. 


Collection de Somzée. 


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Entwurfsskizze. Um 1475. Paris. Musée National du Louyre. Phot. A. Giraudon. 


220. DER TROJANISCHE KRIEG. 


du Louvre. 


Paris. Musée National 


Phot. A. Giraudon. 


Petit patron. Vers 4475. 


UERRE DE TROIE. 


7 


LA ( 


About 1475. Paris. Musée National du Louvre. 


Phot. A. Giraudon. 


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221. DER TROJANISCHE KRIEG. Manufaktur Brüssel (?). Um 1473. 


Paris. Ehemalige Sammlung R. Heilbronner. 


THE TROJAN WAR. Brussels manufacture (?). LA GUERRE DE TROIE. Manufacture de Bruxelles (2). 


About 1475. Paris. Former R. Heilbronner Collection. Vers 4475. Paris. Jadis Collection de R. Heilbronner. 








222 


DIE GESCHICHTE DER ESTHER. VASTHI SCHLÄGT DIE EINLADUNG DES AHASVER AUS 


Manufaktur Brüssel (2). Um 1473. Paris. Louvre. Phot. Giraudon. 


THE STORY OF ESTHER. VASTHI REFUSES 
AHASUERUS’ INVITATION. Brussels manufacture (?). 


About 1475. 


L’ HISTOIRE D’ ESTHER. VASTHI DECLINE L’ IN- 
VITATION D’ASSUERUS. Manufacture de Bruxelles (?). 
Paris. Louvre. Phot. Giraudon. 


Vers 1475. Paris. Louvre. Phot. Giraudon. 





226. DIE INDIENFOLGE. Manufaktur Oudenaarde (?), Anfang des 16. Jahrhunderts. 
New York. Ehemalige Sammlung Rita Lydig. 


THE INDIA SERIES. Oudenarde manufacture (2). Beginning LA TENTURE DES INDES. Manufacture d’Audenarde (2). Com- 
of the 16th century. New York. Former Rita Lydig Collection. mencement du XVI siécle. New York. Collection ancienne de Rita Lydig. 


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227. DIE INDIENFOLGE. FRAGMENT. Manufaktur Tournai. Beginn des 16. Jahrhunderts. 
Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


THE INDIA SERIES. FRAGMENT. Tournai LA TENTURE DES INDES. FRAGMENT. 
manufacture. Beginning of the 4 sth century. Manufacture de Tournai. Commencement du XVI® 
Berlin Fine Art Dealers. (Altkunst-Margraf & Cie.) sitele. Commerce d’objets d’art de Berlin. 


(Alkunst-Margraf & Cie.) 





228. DIE CARRABARRAFOLGE. Manufaktur Tournai. Erstes Drittel des 16. Jahrhunderts. 
Magdeburg. Kaiser - Friedrich - Museum. 


THE CARRABARRA SERIES. Tournai manufacture. LA TENTURE DE CARRABARRA. Manufacture de 
First third of the 16th century. Magdeburg. Kaiser- Tournai. Premier tiers du XVIE siecle. Magdebourg. 
Friedrich - Museum. Kaiser - Friedrich - Museum. 


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252. ALLEGORISCHER BILDTEPPICH. “EXCES” VERJAGT “PAUVRETE” 
Zweites Viertel des 46. Jahrhunderts. Münchener Kunsthandel. (L. Bernheimer.) 


. Manufaktur Tournai. 


ALLEGORICAL TAPESTRY. “EXCES” DRIVES AWAY TAPISSERIE ALLEGORIQUE. “EXCES” CHASSE 
“PAUVRETE”. Tournai manufacture. Second quarter of the “PAUVRETE”. Manufacture de Tournai. Deuxieme quart 
46th century. Munich Fine Art Dealers. 


du XVIE sieele. Commerce d’objets d’art de Munich. 
Cb, Bernheimer. ) (L. Bernheimer.) 


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255. DER RICHTERSPRUCH UBER BANKETT UND NACHTMAHL. Fragment. 


Manufaktur Tournai. Zweites Viertel des 


16. Jahrhunderts. Berliner Kunsthandel. 


(J. Klausner & Sohn.) 


THE JUDGE’S SENTENCE ON BANQUET AND 
SUPPER. Fragment. Tournai manufacture. Second 
quarter of the 4 sth century, Berlin Fine Art Dealers. 


(J. Klausner & Sohn.) 


LA CONDAMNATION DE BANQUET ET DE 

SOUPER. Fragment. Manufacture de Tournai. 

Deuxiéme quart du XVIE siécle. Commerce d’objets 
dart de Berlin. (J. Klausner & Sohn.) 





256. JÄGER, SCHAFER UND SCHÄFERINNEN. Manufaktur Tournai, Erstes Drittel des 46. Jahrhunderts. 
London. Victoria and Albert Museum. 


HUNDSMEN, SHEPHERDS AND SHEPHERDESSES. CHASSEURS, BERGERS ET BERGERES. Manufacture 
Tournai manufacture. First third of the 46th century. de Tournai, Premier tiers du XVIE® siécle. Londres, Victoria 
London. Victoria and Albert Museum. and Albert Museum. 





257. DIE WINZER. Manufaktur Tournai. Um 1523. Berliner Kunsthandel. 
(J. Klausner & Sohn.) 


THE GRAPE GATHERERS, Tournai manufacture. About LES VIGNERONS. Manufacture de Tournai. Vers 1525. 
1525. Berlin Fine Art Dealers. (J. Klausner & Sohn.) Commerce d’objets d’art de Berlin. (J. Klausner & Sohn.) 





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245. DIE FLUCHT NACH ÄGYPTEN. Manufaktur Tournai. Zweites Viertel des 46. Jahrhunderts. 
München. Bayrischer Staatsbesitz Phot. Riehn & Tietze (Riehn & Reusch), München. 


THE FLIGHT OF THE HOLY FAMILY. Tournai manufacture. LA FUITE EN EGYPTE. Manufacture de Tournai. Deuxiéme 
Second quarter of the {6th century. Munich. Bavarian State tiers du XVIE siécle. Munich. Propriété de VEtat de Baviere. 
Property. Phot. Riehn & Tietze (Riehn & Reusch), Munich. Phot. Riehn & Tietze (Riehn & Reusch), Munich. 








244. DIE SAUHATZ. Manufaktur Tourna). Um 4350. München. 
Bayrischer Staatsbesitz. Phot. Riehn & Reusch. 


THE BOAR HUNT. Tournai manufacture. About 1550. LA CHASSE AU SANGLIER. Manufacture de Tournai. Vers 1330. 
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245. DIE HIRSCHJAGD. Manufaktur Tournai. Um 4550. 


Paris. Ehemalige Sammlung Seligmann. 


LA CHASSE AU CERF. Manufacture de Tournai. Vers1550. 


THE STAG HUNT. Tournai manufacture. About 1550. 
Paris. Jadis Collection Seligman. 


Paris. Former Seligman Collection. 





248. ALTTESTAMENTLICHE EPISODE. SALOMO SETZT SEINE MUTTER BETHSABA ZUR RECHTEN. 
Tournai. Zweites Viertel des 16. Jahrhunderts. Münchener Kunsthandel. (L. Bernheimer.) 


EPISODE FROM THE OLDTESTAMENT. SALOMON EPISODE DE L’ANCIEN TESTAMENT. SALOMON 

PLACES HIS MOTHER BATHSHEBAONHISRIGHT ASSIED SA MERE BETHSABE A SA DROITE. 

HAND. Tournai. Second quarter of the 4 6th century. Tournai. Deuxiéme quart du XVI® siécle. Commerce 
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255. VERDURE MIT DEM „VERGER“-MOTIV. Manufaktur Tournai. Um 4550. 
Münchener Kunsthandel. (L. Bernheimer.) 


VERDURE WITH THE “ VERGER”-MOTIVE. Tournai manu- VERDURE AVEC LE MOTIF “VERGER”. Manufacture de Tournai. 
facture. About 4550. Munich Fine Art Dealer. (L. Bernheimer.) Vers 1550. Commerce d’objets d’art de Munich. (L. Bernheimer.) 


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258. DIE PASSION. Brüssel. Manufaktur des Pieter van Aelst. 
Ausgang des 15. Jahrhunderts. Angers. St. Maurice. 


THE PASSION. Brussels. Manufacture of Pieter van Aelst. LA PASSION. Bruxelles. Manufacture de Pieter van Aelst. 
End of the 15th century. Angers. St. Maurice. Fin du XV@ siecle. Angers. Eglise St. Maurice. 


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259. DIE PASSION. Brüssel. Manufaktur des Pieter van Aelst. 
Ausgang, des 45. Jahrhunderts. Angers. St. Maurice. 


LA PASSION. Bruxelles. Manufacture de Pieter van Aelst. 


THE PASSION. Brussels. Manufacture of Pieter van Aelst. 
Fin du XV® siécle. Angers. Eglise St. Maurice. 


End of the 45th century. Angers. St. Maurice. 





260. DER LEIDENSWEG DES HERRN. KREUZTRAGUNG. Brüssel. Manufaktur des Pieter van Aelst. 
Um 4510. Spanischer Staatsbesitz. (Don Juan de Valencia, Tapices de la Corona de Espana.) 


THE LORD’S PATH OF SUFFERING. BEARING THE CROSS. LE CHEMIN DE LA CROIX DU SEIGNEUR. Bruxelles. 
Brussels. Manufacture of Pieter van Aelst. About 1510. Spanish State Manufacture de Pieter van Aelst. Vers 1510. Propriété de Etat 
Property. (Don Juan de Valencia, Tapices de la Corona de Espana.) d’Espagne. (Don Juan de Valencia, Tapices de la Corona de Espana.) 


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265. BORDURENDETAILS DER VAN AELSTSCHEN FOLGE DER TATEN DER APOSTEL IM VATIKAN. 
Brüssel. Um 4548. Manufaktur des Pieter van Aelst. Phot. Ede Alinari. 


BORDER DETAILS OF THE VAN AELST SERIES OF THE DETAILS DE BORDURE DE LA TENTURE DE VAN 
DEEDS OF THE APOSTLES IN THE VATIGAN. Brussels. AELST: LES ACTES DES APOTRES AU VATICAN. Bruxelles. 
About 1548. Manufacture of Pieter van Aelst. Phot. Ede Alinari. Vers 4548. Manufacture de Pieter van Aelst. Phot. Edne Alinari. 


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266. DIE GESCHICHTE DES PERSEUS. Perseus und Andromeda bringen den Göttern Brandopfer dar. 


Brüssel. 1520. Manufaktur des Gabriel van der Tommen. 


THE STORY OF PERSEUS. Perseus and Andromeda offer 
a holocaust to the gods. Brussels. 1520. Manufacture of Gabriel 
van der Tommen. Paris. Former Raoul Heilbronner Collection. 


Paris. Ehemalige Sammlung Raoul Heilbronner. 


L’HISTOIRE DE PERSEE. Persée et Androméde offrent un 
holocauste aux dieux. Bruxelles. 4520. Manufacture de Gabriel 
van der Tommen. Paris. Collection ancienne de Raoul Heilbronner. 





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. DIE GESCHICHTE ABRAHAMS. Ausschnitt. Brüssel. Um 4550. Manufaktur des Wilhelm de Pannemaker (?). 
Wien. Österreichischer Staatsbesitz. Phot. Bundes-Lichtbildstelle. 


THE STORY OF ABRAHAM. Brussels. About 4550. Manufacture L’HISTOIRE D’ ABRAHAM. Bruxelles. Vers 1350. Manufacture 
of Willem de Pannemaker (?). Vienna. Austrian State Property. de Willem de Pannemaker (?). Vienne. Propriété del’ Etat d’ Autriche. 
Phot. Bundes-Lichtbildstelle. Phot. Bundes-Lichtbildstelle. 


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268. DIE GESCHICHTE DAVIDS. Ausschnitt. David erteilt Urias den todbringenden Auftrag. 
Brüssel. Manufaktur des Pieter de Pannemaker. Um 1517. Paris. Musée de Cluny. Phot. Giraudon. 


THE STORY OF DAVID. David gives Uriah the death- 
bringing order. Brussels. Manufacture of Pieter de Pannemaker. 
About 1517. Paris. Musée de Cluny. Phot. Giraudon. 


L’HISTOIRE DE DAVID. David donne a Urie la mission 
mortelle. Bruxelles. Manufacture de Pieter de Pannemaker. Vers 
4517. Paris. Musée de Cluny. Phot. Giraudon. 


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269. GOTT-VATER UND HEILIGER GEIST. Baldachin des Thrones Kaiser Karls V. 
Brüssel. Manufaktur des Pieter de Pannemaker. Um 1523. Spanischer Staatsbesitz. 


GOD THE FATHER AND HOLY GHOST. Throne DIEU LE PERE ET LE ST. ESPRIT. Dais du tröne de 
Canopy of Emperor Charles V. Brussels. Manufacture of l’empereur Charles- Quint. Bruxelles. Manufacture de Pieter 
Pieter de Pannemaker. About 4523. Spanish State Property. de Pannemaker. Vers 1323. Propriété de I’Etat d’Espagne. 





270. DER ABSCHIED DES AUFERSTANDENEN VON DEN HEILIGEN FRAUEN. 
Rückwand des sogenannten Thrones Kaiser Karls V. Brüssel. Wahrscheinlich stammt der Wand- 
teppich gleichfalls aus der Manufaktur des Pieter de Pannemaker. Um 13253. Spanischer Staatsbesitz. 


THE RISEN CHRIST TAKES LEAVE OF THE 

HOLY WOMEN. Back of the so-called throne of 

Emperor Charles V. Brussels. The tapestry is probably 

also one of the manufactures of Pieter de Pannemaker, 
About 4525. Spanish State Property. 


LES ADIEUX DU CHRIST RESSUSCITE AUX 

SAINTES FEMMES. Revers du soi-disant tröne de 

Charles-Quint. Bruxelles. Il est probable que la tapisserie 

provienne de la manufacture de Pieter de Pannemaker. 
Vers 1325. Propriété de 1’ Etat d’Espagne. 


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278. GESCHICHTE DES POMPEJUS. Brüssel. Manufaktur des Jakob Geubels. Ende des 16. Jahrhunderts. München. 
Bayrischer Staatsbesitz. Phot. Riebn & Tietze (Riehn & Reusch). 


THE STORY OF POMPEY. Brussels. Manufacture of Jacob Geubels. L’HISTOIRE DE POMPEE. Bruxelles. Manufacture de Jacob Geubels. 
End of the 16th century. Munich. Bayarian State Property. Phot. Fin du XVI® siecle. Munich. Propriété de l’Etat de Baviere. Phot. 


Riehn & Tietze (Riehn & Reusch ). Riehn & Tietze (Riehn & Reusch ). 





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279. DIE GESCHICHTE DES CYRUS. CYRUS BEGNADIGT CRÖSUS. Brüssel. Manufaktur des 


Jan van Tiegen. 
Um 1560. Spanischer Staatsbesitz. 


THE STORY OF CYRUS. CYRUS SHOWS MERCY TO 
CROESUS. Brussels. Manufacture of Jan van Tiegen. About 
1560. Spanish State Property. 


L'HISTOIRE DE CYRUS. CYRUS GRACIE CRESUS. 
Bruxelles. Manufacture de Jan van Tiegen. Vers 1560. 
Propriété de I’Etat d’Espagne. 








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284. DER REITUNTERRICHT. Brüssel. Manufaktur des Heinrich Reydams. Um 16535. 
Ehemalige Sammlung Rosenfeld- Goldschmidt. 


THE RIDING LESSON. Brussels. Manufacture of Henry Reydams. L'ECOLE D’EQUITATION. Bruxelles. Manufacture de Henri 


About 4655. Former Rosenfeld-Goldschmidt Collection. Reydams. Vers 1655. Collection ancienne de Rosenfeld- Goldschmidt. 





285. DIE GESCHICHTE SCIPIOS. Sophonisbe erhält den Mantel ihres gefangenen Gemahls, des Numiderkönigs Syphax. 
Brüssel. Manufaktur des Heinrich Reydams. Um 4650. München. Bayrischer Staatsbesitz. Phot. Riehn & Reusch. 


THE STORY OF SCIPIO. Sophonisbe receives the mantle of her L'HISTOIRE DE SCIPION. Sophonisbe regoit le manteau de son 
captive husband, the Numidian King Syphax. Brussels. Manufacture €poux prisonnier, du roi Numide Syphax. Bruxelles. Manufacture de 
of Henry Reydams. About 1630. Munich. Bayarian State Property. Henri Reydams. Vers 1650. Munich. Propriété de l’Etat de Bayiere. 


Phot. Riehn & Reusch. Phot. Riehn & Reusch. 


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286. DAS LANDLEBEN NACH JORDAENS. DER HÜHNERIOF. Brüssel. Manufaktur des Heinrich Reydams. Um 1660. 
Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


RURAL LIFE AFTER JORDAENS. THE POULTRY YARD. LA VIE CHAMPETRE D’APRES JORDAENS. LA BASSE-COUR. 
Brussels. Manufacture of Henry Reydams. About 1660. Berlin Bruxelles. Manufacture de Henri Reydams. Vers 1660. Commerce 
Fine Art Dealers. (Altkunst-Margraf & Cie.) d’objets d’art de Berlin. (Altkunst - Margraf & Cie.) 


(Bunjuueg - surfogor) TOU9T AA (Bunjwueg - surjaqory TOUT AY C1 G j :ssepjeg]) 


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290. DON QUIJOTE. DER HELD WIRD ZUM RITTER GESCHLAGEN. Brüssel. Reydams-Leyniers-Konzern (Pieter 
van den Hecke?). Um 4725. Wien. Österreichischer Staatsbesitz. Phot. Bundes-Lichtbildstelle. Das Cleveland Museum 
of Art besitzt zwei Urban Leyniers signierte Behänge der Don Quijotefolge. Ein dritter befindet sich zurzeit im 
Eigentum der Mrs. E. W. Haines. Der Ilidalgo greift die Schafherde an, der gewappnete Sancho Panza, das Bankett. 


DON QUIJOTE. THE HERO 1S CREATED A 
KNIGHT. Brussels. Reydams-Leyniers-K onzern (Pieter 
van den Hecke? ). About 4723. Vienna. Austrian State 
Property. Phot. Bundes-Lichtbildstelle. The Cleveland 
Museum of Art possesses two signed tapestries of the Don 
Quijote series. A third is at present in the possession 
of Mrs. E. W. Haines. The hidalgo attacks the flock 
of sheep, the armed Sancho Panza, the banquet. 


DON QUIJOTE. LE HEROS EST REGU CHEVALIER. 
Bruxelles. Compagnie de Reydams-Leyniers (Pieter van den 
Ilecke?). Vers 4723. Vienne. Propriété de l’Etat d’Au- 
triche. Phot. Bundes-Lichtbildstelle. Le Cleveland Museum 
of Art possede deux tapisseries de la tenture Don Quijote 
signées Urban Leyniers. Une troisitme est actuellement 
propriété de Mrs. E. W. Haines. Le Hidalgo attaque le 


troupeau de moutons, Sancho Panza armé, le Banquet. 











295. DAS LEBEN DES MOSES. DIE AUFFINDUNG DES KINDES. Brüssel. Manufaktur des Jan I 
Um 4670. Wien. Österreichische Staatssammlung. Phot. Bundes-Lichtbildstelle. 


seyniers. 


TUE LIFE OF MOSES. TIIE FINDING OF THE LA VIE DE MOISE. L’ENFANT EST TROUVE. 
CHILD. Brussels. Manufaeture of Jan Leyniers. About Bruxelles. Manufacture de Jan Leyniers. Vers 1670. 


1670. Vienna. Austrian State Collection. Phot. Bundes- Vienne. Propriété de l’Etat d’Autriche. Phot. Bundes- 
Lichtbildstelle. Lichtbildstelle. 


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502. DIE TRIUMPHE DER GÖTTER. FLORA. Brüssel. Reydams-Leyniers-Konzern. Um 1753. 
Pariser Kunsthandel. (Jacques Seligmann.) 


THE TRIUMPHS OF THE GODS. FLORA. Brussels. LES TRIOMPHES DES DIEUX. FLORA. Bruxelles. 
Reydams-Leyniers-Konzern. About 4755. Paris Fine Compagnie de Reydams-Leyniers. Vers 1755. Commerce 
Art Dealer. (Jacques Seligmann.) d’objets d’art de Paris. (Jacques Seligmann.) 


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504. GESCHICHTE DES DECIUS MUS. MARS UND ROMA. Allegorie. Brüssel. 
Manufaktur des Franz van den Hecke. Um 4640. Deutscher Privatbesitz. 


THE STORY OF DECIUS MUS. MARS AND ROMA. 
Allegory. Brussels. Manufacture of Franz van den 
Hecke. About 1640. German private property. 


L’HISTOIRE DE DECIUS MUS. MARS ET ROMA. 
Allégorie. Bruxelles. Manufacture de Franz van den 
Hecke. Vers 1640. Propriété particuliére allemande. 





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507. DIE VIER ELEMENTE. FEUER UND ERDE. Brüssel. Manufaktur des Jan Frans van den Hecke. Um 1680. 
Residenzschloß zu Würzburg. Phot. K. Gundermann, Würzburg. 


THE FOUR ELEMENTS. EARTH AND FIRE. LES QUATRE ELEMENTS. LA TERRE ET LE FEU. 
Brussels. Manufacture of Jan Frans van den Hecke. About Bruxelles. Manufacture de Jan Frans yan den Hecke. Vers 
1680. Residenzschloß Würzburg. Phot. K. Gundermann, 1680. Residenzschloß Wurzburg. Phot. K. Gundermann, 


Würzburg. Würzburg. 








508. DIE 12 MONATE. SEPTEMBER — OKTOBER. Brüssel. Manufaktur des Jan Frans van den Hecke. Um 4690. 
München. Bayrische Staatssammlung. Phot. Riehn & Reusch. 


THE 12 MONTHS. SEPTEMBER — OCTOBER. Brussels. Manu- LES DOUZE MOIS. SEPTEMBRE — OCTOBRE. Bruxelles. Manu- 
facture of Jan Frans van den Hecke. About 4690. Munich. Bavarian facture de Jan Frans van den Hecke. Vers 1690. Munich. Propriété 
State Property. Phot. Riehn & Reusch. de l’Etat de Baviere. Phot. Riehn & Reusch. 





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309. DIE VIER JAHRESZEITEN. FRÜHLING. Brüssel. Manufaktur des Jan Frans van den Hecke. Um 1680. München. 
Bayrische Staatssammlung. Phot. Riehn & Tietze (Riehn & Reusch ). 


THE FOUR SEASONS. SPRING. Brussels. Manufacture of LES QUATRE SAISONS. LE PRINTEMPS. Bruxelles. Manu- 
Jan Frans van den Hecke. About 1680. Munich. Bavarian State facture de Jan Frans van den Hecke. Vers 4680. Munich. Pro- 
Property. Phot. Riehn & Tietze (Riehn & Reusch ). priété de l’Etat de Baviere. Phot. Riehn & Tietze (Riehn & Reusch). 





510. VERDÜRE. DIE ENTENJAGD. Brüssel. Manufaktur des Frans van den Hecke d. J. Um 4710. 
Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


VERDURE. THE DUCK HUNT. Brussels. Manufacture of 
Frans van den Hecke the younger. About 1710. Berlin Fine 
Art Dealers. (Altkunst-Margraf & Cie.) 


VERDURE. LA CHASSE AUX CANARDS. Bruxelles. Manu- 
facture de Frans yan den Hecke le jeune. Vers 1710. Commerce 
d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 





516. DIE GESCHICHTE NOAHS. DIE SINTFLUT. Brüssel. Manufaktur des Jan Raes. Um 1625. 
Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


THE STORY OF NOAH. THE DELUGE. Brussels. L’HISTOIRE DE NOE. LE DELUGE. Bruxelles. 
Manufacture of Jan Raes. About 4625. Berlin Fine Manufacture de Jan Raes. Vers 4625. Commerce 
Art Dealers. (Altkunst-Margraf & Cie.) d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 


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5414. „FINS TENIERS“. GELAGE IN DER SCHANKE. Manufaktur Brüssel. 
Um 1750. Stuttgart. Württembergischer Staatsbesitz. Phot. H. Roth. 


“FINS TENIERS”. CAROUSAL IN “FINS TENIERS”. FESTIN AU 
THE TAVERN. Brussels Manufacture. CABARET. Bruxelles. Vers 4750. 
About 1750. Stuttgart. Wurtemberg Stuttgart. Propriété de I’Etat de Wurtem- 


State Property. Phot. H. Roth. berg. Phot. H. Roth. 


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542. “FINS TENIERS“. DER FETTE OCHSE. Manufaktur Brüssel. Um 4730. Stuttgart. 
Württembergischer Staatsbesitz. Phot. H. Roth. 


“FINS TENIERS”. THE FAT OX. Brussels manu- “FINS TENIERS”. LE BCEUF GRAS. Bruxelles. 
facture. About 1750. Wurtemberg State Property. Vers 1750. Stuttgart. Propriété de l’Etat de Wurtemberg. 
Phot. H. Roth. Phot. H. Roth. 


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4. „TENIERS“. TRIC-TRAC-SPIEL. Manufaktur Brüssel. Um 4715. 

Ehemalige Sammlung de Somzée. 

“ TENIERS”. THE GAME OF TRICTRAC. Brussels “TENIERS”. JEU DE TRIC-TRAC. Bruxelles. 
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315. ,, FINS TENIERS“. DER ERNTEWAGEN. Manufaktur Brüssel. Um 1750. 
Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


“FINS TENIERS”. THE CAR FOR HARVESTING. “FINS TENIERS“. LE CHARTIL, Bruxelles. Vers 
Brussels manufacture. About 4750. Berlin Fine Art 1750. Commerce d’objets d’art de Berlin. (Altkunst.- 
Dealers. (Altkunst-Margraf & Cie.) Margraf & Cie.) 


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518. TIGERJAGD. Brüssel. (2?) Manufaktur Ras-Orloffs. Um 4650. Amsterdam. 
Nederlandsch Museum voor Geschiedenis en Kunst. 


TIGER-HUNTING. Brussels. (?) Manufacture Ras- LA CHASSE AU TIGRE. Bruxelles. (?) Manufacture 
Orloffs. About 1650. Amsterdam. Nederlandsch Museum de Ras-Orloffs. Vers 1650. Amsterdam. Nederlandsch 
voor Geschiedenis en Kunst. Museum voor Geschiedenis en Kunst. 





519. DIE GESCHICHTE DES THESEUS. Amphitrite reicht Theseus den Ring des Minos. Brüssel. 
Manufaktur des Jan Raes d. J. Um 1655. Spanischer Staatsbesitz. 


THE STORY OF THESEUS. Amphitrite hands The- L’HISTOIRE DE THESEE. Amphitrite présente la 
seus the Ring of Minos. Brussels. Manufacture of Jan bague de Minos 4 Thésée. Bruxelles. Manufacture de Jan 
Raes the younger. About 1655. Spanish State Property. Raes le jeune. Vers 1653. Propriété de l’Etat d’Espagne. 


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520. CHURISTENVERFOLGUNG. Brüssel. Manufaktur des Frans van Maelsack. Um 4630. 
Berliner Kunsthandel. (J. Klausner & Sohn.) 


PERSECUTION OF THE CHRISTIANS. Brussels. PERSECUTION DES CHRETIENS. Bruxelles. Manu- 
Manufacture of Frans van Maelsack. About 4650. Berlin facture de Frans van Maelsack. Vers 1650. Commerce 
Fine Art Dealers. (J. Klausner & Sohn.) d’objets d’art de Berlin. (J. Klausner & Sohn.) 





521. DIE GESCHICHTE DES HERAKLES. Der Held tötet den feuerspeienden Riesen Cacus. Brüssel. 





Manufaktur des Bernaert van Brustom. Um 1640. Amsterdam. Auktion A. Mak, 2.—5. XT. 1920. 


THE STORY OF HERCULES. The Hero kills the fire-belching L’HISTOIRE D’HERCULE. Le heros tue Cacus, géant ignivome. 
Giant Cacus. Brussels. Manufacture of Bernaert van Brustom. About Bruxelles. Manufacture de Bernaert van Brustom. Vers 1640. Amsterdam. 
1640. Amsterdam. Public Sale A. Mak, 2.—5. XT. 1920. Vente publique A. Mak, 2.—5. XI. 1920. 





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525. DIE GESCHICHTE DER DIANA. Brüssel. Manufaktur des Andreas van den Driesche. Um 1640. 
Münchener Kunsthandel. (J. Böhler.) 


THE STORY OF DIANA. Brussels. Manufacture of Andreas L’HISTOIRE DE DIANE. Bruxelles. Manufacture de Andries 
van den Driesche. About 4640. Munich Fine Art Dealer. van den Driesche. Vers 1640. Commerce d’objets d’art de 
(J. Böhler.) Munich. (J. Böhler.) 





526. GESCHICHTE PHILIPPS VON MACEDONIEN. Brüssel. Manufaktur des Jan de Clere d.J. Um 1670. 
Deutscher Privatbesitz. 


STORY OF PHILIP OF MACEDONIA. Brussels. Manu- L’HISTOIRE DE PHILIPPE DE MACEDOINE. Bruxelles. 
facture of Jan de Clere the younger. About 4670. German Manufacture de Jan de Clere le jeune. Vers 1670. Pro- 
private property. priété particuliére allemande. 


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528. FELDZUGSSZENEN NACH LAMBERT DE HONDT. DER 
FELDHERR. Brüssel. Manufaktur des Hieronymus le Clerck. Um 4700. 
München. Bayrischer Staatsbesitz. Phot. Riehn & Tietze (Riehn & Reusch). 


CAMPAIGN SCENES AFTER LAMBERT DE 

HONDT. THE COMMANDER. Brussels. Manu- 

facture of Hieronymus le Clerck. About 1700. 

Munich. Bavarian State Property. Phot. Riehn & Tietze 
(Riehn & Reusch). 


SCENES DE CAMPAGNE D’APRES LAMBERT 

DE HONDT. LE GENERAL. Bruxelles. Manu- 

facture de Jéréme le Clerck. Vers 4700. Munich. 

Collection de l’Etat de Baviére. Phot. Riehn & Tietze 
(Riehn & Reusch). 


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Be APSE eae mes 





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329. FELDZUGSSZENEN. DIE SCHLACHT. Ausschnitt. Brüssel. Manufaktur 
des Heinrich le Clerck oder des Judocus de Vos. Um 4725. Berliner Kunsthandel. 
(Altkunst-Margraf & Cie.) 


CAMPAIGN SCENES. THE BATTLE. Brussels. 
Manufacture of Hendrik le Clerck or of Judocus 


de Vos. 


About 4725. Berlin Fine Art Dealers. 
(Altkunst-Margraf & Cie.) 


SCENES DE CAMPAGNE. LA BATAILLE. Partie 
droite. Bruxelles. Manufacture de Hendrik le Clerck 
ou de Judocus de Vos. Vers 4725. Commerce 
d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 


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550. DIE FLUCHT NACH ÄGYPTEN. Brüssel. Manufaktur des Hieronymus le Clerck. 4694. München. 
Bayrischer Staatsbesitz. Phot. Riehn & Tietze (Riehn & Reusch ). 


THE FLIGHT OF THE HOLY FAMILY. Brussels. Manu- 
facture of Hieronymus le Clerck. 1694. Munich. Bavarian 
State Property. Phot. Riehn & Tietze (Riehn & Reusch ). 


LA FUITE EN EGYPTE. Bruxelles. Manufacture de 
Jeröme le Clerck. 1694. Munich. Propriété de l’Etat de 
Baviere. Phot. Riehn & Tietze (Riehn & Reusch). 


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B I fee er EN, A af d ° a Juuep : DOLD 309 Vi 29% ae ad yates 4 


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‘AIseqyeaug sJeyosyneqg 07.9, uf 
“oyewouueg op snwserg sep anyyeznue "[ossnıg “SOWA ANN SATANOY NYHISIMZ AdNYM Wad SNOW ALHIIHISII IA “res 





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555. DIE GESCHICHTE JAKOBS. DIE HIMMELSLEITER. Brüssel. Manufaktur des Jakob van Zeunen. 
Um 1670. Kathedrale Wawel bei Krakau. 


THE STORY OF JACOB. JACOBS LADDER. L’HISTOIRE DE JACOB. L’ECHELLE DE JACOB. 
Brussels. Manufacture of Jacob van Zeunen. About 1670. Bruxelles. Manufacture de Jacob van Zeunen. Vers 1670. 
Wawel Cathedral near Cracow. Cathédrale de Wawel prés Cracovie. 





354. DIE GESCHICHTE SALOMOS. DIE FEIERLICHE EINWEIHUNG DES TEMPELS. Brüssel. 
Manufaktur des Jakob van Zeunen. Um 1660. Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


THE HISTORY OF SALOMON. THE SOLEMN L’HISTOIRE DE SALOMON. L’INAUGURATION 
CONSECRATION OF THE TEMPLE. Brussels. SOLENNELLE DU TEMPLE. Bruxelles. Manufacture 
Manufacture of Jacob van Zeunen. About 1660. Berlin de Jacob van Zeunen. Vers 1660. Commerce d’objets 


Fine Art Dealers. (Altkunst-Margraf & Cie.) d’art de Berlin. (Altkunst-Margraf & Cie.) 


"Opfagspprqg{prT-sapung youg ‘eyoryny,p OTSPEQr] 
WIT] Op UoNeafor) ‘ouuerA “Q9OO} SAA ‘ounel 9] sueuodd;y joruelf op aunpejnuey -sopung 'Joyg  “UoHsa][or) RG uersny “euUeTA °099F ynoqy ‘sa8unoh ayy 
‚sejpnıg "ISSYHD AG AFHdOWUL DIAV YOASSVHO “ASSVHO Ad ANAOS suewro3dg jorueg jo oamoesnueyy 'spssnag "TIIM HLIMA SYALNOH ONLLNOW 


OpPISPILNYPFT-Sopung “you 
“‘SunjururessyeeyG OYOST]IL9119]8 QE) “UOT AA “O99F uy) ‘fe suRLedo%y jetueqd sop Inyejnuep "pssnug ALIIHAIVE ‚LIWN MYIIVL NAGOVE “GES 





LUC 





358. OPFERFEST. Brüssel. Manufaktur des Jan Baptist Vermillion. Um 4723. Berlin. Schloßmuseum. 


Vers 


Manufacture de Jan Baptist Vermillion. 


NNEL. Bruxelles. 


R 


SACRIFICE SOLE 


1725. 


About 


Manufacture of Jan Baptist Vermillion. 


SACRIFICIAL FEAST. Brussels. 


Berlin. Schloßmuseum. 


Schloßmuseum. 


Berlin. 





Um 1660. Wien. Österreichischer Staatsbesitz. Phot. Bundes-Lichtbildstelle. 


THE SEVEN PLANETS. MERCURY. Brussels. Manufacture LES SEPT PLANETES. MERCURE. Bruxelles. Manufacture 
of Josse or Jacob van Zeunen. About 4660. Vienna. Austrian de Josse ou de Jacob van Zeunen. Vers 4660. Vienne. 
State Property. Phot. Bundes-Lichtbildstelle. Propriété de l’Etat d’Autriche. Phot. Bundes-Lichtbildstelle. 





356. DIE NEIGUNGEN DES MENSCHEN. DER KRIEGER. Brüssel. Manufaktur des Mathias Roelants. 
Um 1653. Wien. Österreichischer Staatsbesitz. Phot. Bundes-Lichtbildstelle. 


THE PREFERENGES OFMAN. THE WARRIOR. Brussels. LES PENCHANTS DE L’HOMME. LE GUERRIER. 
Manufacture of Mathias Roelants. About 4 635. Vienna. Austrian Bruxelles. Manufacture de Mathias Roelants. Vers 4635. Vienne. 
State Property. Phot. Bundes-Lichtbildstelle. Propriété de l’Etat d’Autriche. Phot. Bundes -Lichtbildstelle. 


4 
. 
a 
3 





559. DIE DIE WELT BEHERRSCHENDEN KRAFTE. SIMPLICITAS. Brissel. Manufaktur 
des Albert Auwerex. Letztes Drittel des 47. Jahrhunderts. Wien. Österreichische Staatssammlung. 
Phot. Bundes - Lichtbildstelle. 


THE POWERS DOMINATING THE WORLD. 
SIMPLICITAS. Brussels. Manufacture of Albert 
Auwerex. Last third of the 47th century. Vienna. 
Austrian State Collection. Phot. Bundes-Lichtbildstelle. 


LES PUISSANCES QUI GOUVERNENT LEMONDE. 
SIMPLICITAS. Bruxelles. Manufacture d’Albert Au- 
werex. Derniers tiers du XVII® siécle. Vienne. Collection 
de l’Etat d’Autriche. Phot. Bundes - Lichtbildstelle. 


Fr, 


¥. 


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ey 


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557. DIE GESCHICHTE DES MOSES. DAS VERBOT DES BETRETENS DES SINAI. Brüssel. 
Manufaktur des Jan Parmentiers. Um 1663. Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


THE STORY OF MOSES. PROHIBITION TO SET FOOT L’HISTOIRE DE , MOISE. LA DEFENSE D’APPROCHER LE 
ON SINAI. Brussels. Manufacture of Jan Parmentiers. About MONT DE SINAI. Bruxelles. Manufacture de Jan Parmentiers. 
1665. Berlin Fine Art Dealers. (Altkunst-Margraf & Cie.) Vers 41665. Commerce d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 





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545. DIE VIER WELTTEILE. EUROPA UND ASIA. Brüssel. Manufaktur des Frans Peemans (?). 
Um 1720. Münchener Kunsthandel. (J. Böhler.) 


THE FOUR QUARTERS OF THE GLOBE. EUROPE AND ASIA. LES QUATRE CONTINENTS. L’EUROPE ET L’ASIE. Bruxelles. 
Brussels. Manufacture of Frans Peemans (?). About 4720. Munich Fine Manufacture de Frans Peemans (?). Vers 1720. Commerce d’objets 


Art Dealer. (J. Böhler.) d’art de Munich. (J. Böhler.) 





544. DIE GESCHICHTE KONSTANTINS. Die Senatoren beglückwünschen den siegreichen Kaiser. 
Brüssel. Manufaktur des Geraert van der Strecken. Um 4655. Deutscher Privatbesitz. 


THE STORY OF CONSTANTINE. The Senators congratulate the L’HISTOIRE DE CONSTANTIN. Les sénateurs félicitent l’empereur 
Victorious Emperor. Brussels. Manufacture of Geraert yan der Strecken. victorieux. Bruxelles. Manufacture de Geraert van der Strecken. Vers 
About 1655. German private property. 1655. Propriété particuliére allemande. 


“‘BanogqseyG op Peappyge) 'CC9F SOA “AMOR edtIg ep sinjoesjnueyy ‘ajsunm Binqsseyg “Egy Moqy "anowegg oeIg Jo vamyejnuem “seg 
‘sued “GIYVIN ALS Ad NOLLINOSSV.’T ANNOGVW WI Ad ALA VT NIOUIA SILL AO NOLLAWOASSV AMVN NIOYIA SHL IO YA T AHL 


TOJSUn ABnggeng 'CK9F WY “Mow our sop anjyesnueyy “seq \LWHVATANNI YMMV VNNOGVN W4d Nadal SVd “srs 





WeUTY suPY Yd [RUM “OMOY '099F SIA “Wayayg sep uvA yloesory op oanjoesnueyy ‘WeUTY auPA “Yq “TEUINC) “OuMLOY 099, WA “WoyIeNG sop uA yloeIoL) Jo oumpejnuep; 
soexnıg “TVEINNVH.G La NOIdIIS Ad AWLNOONAY WI NOIdIDS AG TYIOLSIH.T Spssmig “TVGINNVH GNV OldlOS AO ONLLAAN AHL 'OldIDS AO AYOLS FHL 


“MeUlY aup I 904g ‘euumM”d ‘woy 099, wN 
MOPONS Op UPA WowsIey sop anpyejnuem 'Pssnıg “STVAINNVH GNA SOIdIIS DNONOAOAL AIG 'SOIAIIS ILHIIHISTI MIA 'IrE 


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547. DIE NACHT. Brüssel. Manufaktur des Geraert yan der Strecken. Mitte des 17. Jahrhunderts. 
Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 1896.) 


NIGHT. Brussels. Manufacture of Geraert van der 

Strecken. Middle of the 17th century. Swedish State 

Property. (Dr. J. Böttiger; Svenska Statens Samling af 
Väfda Tapeter, 1896.) 


LA NUIT. Bruxelles. Manufacture de Geraert van der 

Strecken. Milieu du XVIIE siécle. Propriété de V Etat 

de Suéde. (Dr. J. Bottiger; Svenska Statens Samling af 
Vufda Tapeter, 1896.) 





548. DIE 12 MONATE. JANUAR — FEBRUAR. Brüssel. Manufaktur des Guiliam van Leefdael. Mitte des 47. Jahrhunderts. 
Schwedischer Staatsbesitz. (Dr. John Böttiger; Svenska Statens Samling af Väfda Tapeter, 4896.) 


THE 12 MONTHS. JANUARY — FEBRUARY. Brussels. Manu- LES DOUZE MOIS. JANVIER — FEVRIER. Bruxelles. Manu- 
facture of Guiliam van Leefdael. Middle of the 47!h century. facture de Guiliam Leefdael. Vers 1630. Propriété de 1’Etat 
Swedish State Property. (Dr. John Böttiger; Svenska Statens de Suede. (Dr. John Böttiger; Svenska Statens Samling af Väfda 


Samling af Vafda Tapeter, 1896.) Tapeter, 4896.) 


(9684 “ode, epyea 
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Ld NOTIOdY “AGIAO.G SHTAVA SAT 


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SOME FI) “Arseqsyeryg soyostpomyog “syapunqayer “Lf Sop epug “sod ep snore 
sop anjyejnueyy “jessmg "ANHAVA AND OTIOdV NTIIVA NAHOSAIAO AIC "088 


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(dun junueg - surjaqory JOUHLAA ICT + Ssepyeg) “ZrlsoqsyeeyG sa qostqporat19}sC) 


‘OGLE un ‘SOA 9p snoopnf sop Injyejnuejy “possnag “UOARTYSUOISTAT) top sunt Joy etp pun IPRs dop JUNIO pun old “SINOLL NOA YNOYVHHO Wi MIET '1ée 











352. DIE NEIGUNGEN DER MENSCHEN. DER SOLDAT. Brüssel. Manufaktur des Judocus de Vos. 


Um 4725. Deutscher Privatbesitz. 


THE PREFERENCES OF MAN. THE SOLDIER. Brussels. Manu- LES PENCHANTS DES HOMMES. LE SOLDAT. Bruxelles. Manu- 
facture of Judocus de Vos. About 4725. German private property. facture de Judocus de Vos. Vers 4725. Propriété partieulire allemande. 





533. DIDO UND AENEAS. DAS OPFER DER DIDO. Manufaktur des M. Wauters. Mitte des 47. Jahrhunderts. 
Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 1896.) 


DIDO AND AENEAS. THE SACRIFICE OF DIDO. Manu- DIDON ET ENEE. LE SACRIFICE DE DIDON. Manu- 
facture of M. Wauters. Middle of the 47th century. Swedish facture de M. Wauters. Milieu du XVIIE siécle. Propriété de 
State Property. (Dr. J. Böttiger; Svenska Statens Samling af l’Etat de Suéde. (Dr. J. Böttiger; Svenska Statens Samling af 


Väfda Tapeter, 1896.) Väfda Tapeter, 1896.) 


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536. ALTTESTAMENTLICHE (MYTHOLOGISCHE ?) EPISODE. Brüssel. Manufaktur eines Wilhelm Segers. (2) 
Letztes Drittel des 46. Jahrhunderts. Wien. Österreichisches Museum für Kunst und Industrie. 


OLD TESTAMENT (MYTHOLOGICAL)- EPISODE. EPISODE MYTHOLOGIQUE DE L’ ANCIEN TESTA- 
Brussels. Manufacture of a Willem Segers. (?) Last MENT. Bruxelles. Manufacture de Willem Segers. (2) 
third of the 46th century. Vienna. Osterreichisches Dernier tiers du XVIe siécle. Vienne. Österreichisches 


Museum für Kunst und Industrie. Museum ftir Kunst und Industrie. 


¢ 


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560. DIE FLUCHT DER HEILIGEN FAMILIE NACH ÄGYPTEN. Brüssel. Manufaktur des Gaspar van der Borsht, 
genannt A. Castro. Um 1753. Munchen. Bayrischer Staatsbesitz. Phot. Riehn & Tietze (Riehn & Reusch). 


THE FLIGHT OF THE HOLY FAMILY INTO EGYPT. 

Brussels. Manufacture of Gaspar van der Borght, called A. Castro. 

About 1755. Munich. Bavarian State Property. Phot. Riehn & Tietze 
(Riehn & Reusch). 


Gobel, Wandteppiche 


LA FUITE DE LA SAINTE FAMILLE EN EGYPTE. 

Bruxelles. Manufacture de Gaspar van der Borght (A. Castro ). 

Vers 1753. Munich. Propriété de l’Etat de Bavidre. Phot. 
Riehn & Tietze (Riehn & Reusch). 


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563. DIE GESCHICHTE DES MOSES. DIE MANNALESE. Brüssel. Manufaktur des Peter van der Borght. 
Mitte des 18. Jahrhunderts. Aus dem ehemalig Wespienschen Hause zu Aachen. Gegenwärtig im Germanischen 
Nationalmuseum zu Nürnberg. Phot. Christoph Müller, Nürnberg. 


THE STORY OF MOSES. THE GATHERING OF MANNA. 

Brussels. Manufacture of Peter van der Borght. Middle of the 

{sth century. From the former Wespien House at Aix -la- 

Chapelle. Now in the Germanischen Nationalmuseum at Nürn- 
berg. Phot. Christof Muller, Publisher, Nurnberg. 


L’HISTOIRE DE MOISE. LA RECOLTE DE LA MANNE. 
Bruxelles. Manufacture de Pieter van der Borght, Milieu du 
XVIIIE siöcle. De Ja maison jadis de Wespien a Aix-la- 
Chapelle. Maintenant au Germanischen Nationalmuseum 4 


Nuremberg. Phot. Christof Muller, Nuremberg. 





566. TÜRKE MIT WEIB UND KINDERN AUF GARTENGRUND. Nach einem Diirerschen Stiche. 
Manufaktur Tournai (?) Brüssel. Anfang des 46. Jahrhunderts. Boston. Museum of Fine Arts. 


TURK WITH WIFE AND CHILDREN ON GARDEN TURC AVEC FEMME ET ENFANTS SUR FOND 
GROUND. After a Dürer engraving. Tournai (?) manu- DE JARDIN. D’apres une gravure de A. Durer. Manu- 
facture. Brussels. Beginning of the 4 oth century. Boston. facture de Tournai (?). Bruxelles. Commencement du 


Museum of Fine Arts. XVIE siécle. Boston. Museum of Fine Arts. 


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..FINS TENIERS“. DIE SCHMIEDE. Brüssel. Manufaktur des Frans van der Borght. 
Um 4740. Deutscher Privatbesitz. 


“FINS TENIERS”. THE SMITHY. Brussels. Manufacture 


of Frans van der Borght. About 1740. German private property. 


“FINS TENIERS”. LA FORGE. Bruxelles. Manufacture de Frans 
van der Borght. Vers 1740. Propriété partieuliere allemande. 





567. ST. LUKAS MALT DIE MADONNA MIT DEM CHRISTUSKIND. Manufaktur Brüssel. Erstes Drittel des 16. Jahrhunderts. 


Paris. Musée National du Louvre. Phot. Ed!!@ Alinari. 


ST. LUKE PAINTS THE VIRGIN WITH THE CHILD. ST. LUC PEINT LA MADONNE AVEC L’ENFANT JESUS. 
Brussels manufacture. First third of the 16th century. Paris. Musée Manufacture de Bruxelles. Premier tiers du XVIE siécle. Paris. 


National du Louvre. Phot. Ed@& Alinari. Musée National du Louyre. Phot. Ed™¢ Alinari. 


-uopneam) ‘you 'xıy 'ojeap -uopneatm) ‘7047 "[eapomen) 
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569. ST. MARTINUS. Manufaktur Brüssel. Erstes Drittel des 16. Jahrhunderts. Paris. 
Ehemalige Sammlung Le Roy. 


ST. MARTIN. Brussels manufacture. First third of the ST. MARTIN. Manufacture de Bruxelles. Premier tiers 
16th century. Paris. Former Le Roy Collection. du XVIEé siécle. Paris. Jadis Collection Le Roy. 


“qounyy ‘qosnoy 9 ugery youq ‘wnesnueuoney sogosruseg 'yoruny “OZS} 
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570. DAS LEIDEN DES HERRN. Manufaktur Brüssel. Um 1520. New York. Privatbesitz. 


THE PASSION OF CHRIST. Brussels manufaeture. About 1520. LA PASSION DU SEIGNEUR. Bruxelles. Vers 1320. New York. 
New York. Private property. Propriété particuliére. 

















574. DIE GESCHICHTE DER ESTHER. Manufaktur Briissel. Erstes Drittel des 46. Jabrhunderts. 
New Yorker Kunsthandel. 


THE STORY OF ESTHER. Brussels manufacture. First third L’HISTOIRE D’ESTHER. Manufacture de Bruxelles. Premier 
of the 16th century. New York Fine Art Dealers. tiers du XVIE siécle. Commerce d’objets d’art de New York. 


Gobel, Wandteppiche 


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EPISODE. Brüssel. Um 4530. Ehemalige Sammlung de Somzée. 


575. MYTHOLOGISCHE 


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Collection de Somzée. 


Jadis 


MYTHOLOGIQUE. Bruxelles. 


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578. DIE GESCHICHTE DER KEUSCHEN SUSANNA. DIE ALTEN WERDEN ZUM RICHTPLATZ GEFUHRT. 
Manufaktur Brüssel. Um 4525. Ehemalige Sammlung Raoul Heilbronner. 


THE STORY OF THE CHASTE SUSANNA. THE ELDERS L’HISTOIRE DE LA CHASTE SUZANNE. LES VIEUX 
ARE CONDUCTED TO THE PLACE OF JUSTICE. Brussels SONT CONDUITS AU LIEU DE SUPPLICE. Manufacture de 
manufacture. About 4525. Former Raoul Heilbronner Collection. Bruxelles. Vers 4525. Collection ancienne de Raoul Heilbronner. 


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579. DIE GEBURT DES HEILANDES. Manufaktur Brüssel. Um 4550. Dresden, Gemäldegalerie. 


THE BIRTH OF THE REDEEMER. Brussels manufacture. 
About 1550. Gemildegalerie, Dresden. 


LA NAISSANCE DU SEIGNEUR. Manufacture de Bruxelles. 
Vers 1550. Gemäldegalerie, Dresde. 


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Wien. Osterreichischer Staatsbesitz. 


Mitte des 46. Jahrhunderts. 


Phot. Bundes-Lichtbildstelle. 


DER TOD SAULS. Brüssel. Manufaktur des Jakob de Carmes. 


584. 


Milieu du 


Manufacture de Jacob de Carmes. 
Propriété de VEtat d’Autriche. Phot. Bundes-Lichtbildstelle. 


SAUL. Bruxelles. 


R 
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Vienne. 


MORT DI 
siécle 


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Middle of the 


Manufacture of Jacob de Carmes. 
46th century. Vienna. Austrian State Property. Phot. Bundes-Lichtbildstelle. 


THE DEATH OF SAUL. Brussels. 


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THE TEMPTATIONS OF ST. ANTONY. Brussels manu- 
Middle of the 46th century. Spanish State 


facture. 
Property. 





eae erereer” 


84. DIE VERSUCHUNGEN DES HEILIGEN ANTONIUS. Manufaktur Brüssel. 
Mitte des 46. Jahrhunderts. Spanischer Staatsbesitz. 


LES TENTATIONS DE ST. ANTOINE. Manufacture 
de Bruxelles. Milieu du XVI® siécle. Propriété de l Etat 
d’Espagne. 


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585. DER RAUB DER SABINERINNEN. Manufaktur Brüssel. Letztes Drittel des 46. Jahrhunderts. 
Berliner Kunsthandel. (J. Klausner & Sohn.) 


RAPE OF THE SABINE WOMEN. Brussels manufacture. LE RAPT DES SABINES. Manufacture de Bruxelles. Derniers 
Last third of the 46th century. Berlin Fine Art Dealers. tiers du XVIe siecle. Commerce d’objets d’art de Berlin. 
(J. Klausner & Sohn.) (J. Klausner & Sohn.) 


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Gobel, Wandteppiche 





587. DETAIL AUS DER TAUFE CHRISTI. Manufaktur Brüssel. Beginn des 16. Jahrhunderts. Wien. 
Österreichischer Staatsbesitz. Phot. Bundes-Lichtbildstelle. 


DETAIL FROM THE BAPTISM OF CHRIST. Brussels DETAIL DU BAPTEME DU CHRIST. Manufacture de 
manufacture. Beginning of the 16th century. Vienna. Austrian Bruxelles. Commencement du XVIe siécle. Vienne. Propriété 
State Property. Phot. Bundes - Lichtbildstelle. de I’Etat d’Autriche. Phot. Bundes-Lichtbildstelle. 





588, DIE KREUZTRAGUNG. Manufaktur Brüssel. Um 4550. Rom, Vatikan. Phot. Anderson, Rom. 


CARRYING THE CROSS. Brussels manufacture. LE CHRIST CRUCIFERE. Manufacture de Bruxelles. 
About 1350. Vatican, Rome. Phot. Anderson, Rome. Vers 4550. Vatican, Rome. Phot. Anderson, Rome. 


‘oBesıy) ‘uossaly “y 'W JO uonpajjor) “WorD9]/0F semyidg souso,g “Aun 


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590. DIE VERKUNDIGUNG. Manufaktur Brüssel. Signiert 4486. Im Besitze des Freiherrn 
y. Tucher in Simmelsdorf, Wien. 


THE ANNUNCIATION. Brussels manufacture. Signed 1486. L’ANNONCIATION. Manufacture de Bruxelles. Signeé 1486. 


In possession of Freiherr v. Tucher in Simmelsdorf, Vienna. Propriété du Freiherr y. Tucher, Simmelsdorf prés Vienne. 


% 
ie 
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591. DIE KREUZIGUNG. Manufaktur Brüssel. Um 4500. Ehemalige Sammlung Le Roy. 


THE CRUCIFIXION. Brussels manufacture. About 


LE CRUCIFIEMENT. Manufacture de Bruxelles. Vers 
4500. Former Le Roy Collection. 


4500. Collection ancienne Le Roy, Paris. 


4 His: 
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592. PROKRIS UND KEPHALOS. KEPHALOS VERWUNDET UNVERSEHENS SEINE GATTIN. 
Manufaktur Brüssel. Zweites Drittel des 46. Jahrhunderts. Rom, Vatikan. Sale Borgia. Phot. Anderson, Rom. 


PROCRIS AND CEPHALOS. CEPHALOS WOUNDS PROKRIS ET CEPHALOS. CEPHALOS BLESSE IN- 
HIS WIFE UNAWARES. Brussels manufacture. Second VOLONTAIREMENT SON FPOUSE. Manufacture de 
third of the 16th century. Sale Borgia. Vatican, Rome. Bruxelles. Deuxiéme tiers du XVIE€ siécle. Sale Borgia au 


Phot. Anderson, Rome. Vatican, Rome. Phot. Anderson, Rome. 


is 


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Manufaktur Brüssel. Um 


MAGDALENA. 
hemalige Sammlung Gaillard. 


MARIA 


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5. DER AUFERSTANDEN 


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LE CHRIST RESSUSCITE 


MARIA MAGDALENA. Brussels manu- 


facture. About 4525. Former Gaillard Collection. 


D 


CHRIST AN 


Manufacture de Bruxelles. Vers 1523. Jadis Collection Gaillard. 


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404. DIE GESCHICHTE DES HISKIA. DIE KRÖNUNG. Manufaktur Brüssel. Zweite Hälfte 
des 46. Jahrhunderts. Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling 
af Väfda Tapeter, 1896.) 


THE STORY OF HEZEKIAH. THE CORONATION. L’ HISTOIRE DE HIZKIAH. LE COURONNEMENT. 


Brussels manufacture. Second half of the 46th century. Manufacture de Bruxelles. Deuxieme moitié du XVIe 
Swedish State Property. (Dr. J. Böttiger; Svenska Statens sidcle. Propriété de l’Etat de Suéde. (Dr. J. Böttiger; 
Samling af Väfda Tapeter, 1896.) Svenska Statens Samling af Väfda Tapeter, 1896.) 





02. DIE 12 MONATE. JANUAR. Manufaktur Brüssel. Erste Hälfte des 17. Jahrhunderts. 


Ehemalige Sammlung Bracquenié. 


THE 12 MONTHS. JANUARY. Brussels manufacture. LES DOUZE MOIS. JANVIER. Manufacture de 
First half of the 47th century. Former Bracquenié Bruxelles. Premiére moitié du XVII® siécle. Collection 
Collection. ancienne de Bracquenié. 


Gobel, Wandteppiche 


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4035. TREPPENHAUSBEHÄNGE. Manufaktur Brüssel. Um 1655. 
Polnischer Privatbesitz. 
STAIRCASE TAPESTRIES. Brussels TENTURE D’ESCALIERS. Manufacture 
manufacture. About 1655. Polish private de Bruxelles. Vers 4655. Propriété parti- 


property. culiére polonaise. 


‘IPMN “2ysyeg ouojery “Qegy SI9A 'sojjexnug op sanjory yprungy ‘oltapery ZNHsSPVg "0ECr Jnoqy 


“nue “NOIdIOS AG YLISOWANAD WT NOIMIOS Ad FYIO.LSIH.T OYAH AHL AO ALININYNOVN AHL 'OldIIS AO AUOLS WHHL 


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105. RÜSTUNG ZUM TURNIER. Ausschnitt. Barocke Wiederholung nach einem Renaissance - Karton. 
Manufaktur Brüssel. Erstes Drittel des 47. Jahrhunderts. Paris. Ehemalige Sammlung Seligmann. 


ARMING FOR THE TOURNAMENT. Baroque copy PREPARATIF AU TOURNOI. Copie baroque d’aprés 
after a Renaissance Cartoon. Brussels manufacture. First un carton de la Renaissance. Manufacture de Bruxelles. 
third of the 47th century. Paris. Former Seligmann Premier tiers du XVII siécle. Paris. Jadis Collection 


Collection. Seligmann. 





406. GESCHICHTE DES ODYSSEUS. POLYPHEM. Manufaktur Brüssel. Zweite Hälfte des 16. Jahrhunderts. 
Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 1896.) 


STORY OF ULYSSES. POLYPHEMUS. Brussels L’HISTOIRE D’ULYSSE. POLYPHEME. Manufacture 
manufacture. Second half of the 46th century. Swedish de Bruxelles. Deuxiéme moitié du XVI® sieele. Pro- 
State Property. (Dr. J. Böttiger; Svenska Statens Samling priété de VEtat de Suöde. (Dr. J. Böttiger; Svenska 


af Väfda Tapeter, 1896.) Statens Samling af Väfda Tapeter, 41896.) 








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Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


16. 


108. BORDÜRENDETAILS. 


Phot. Bundes-Liehtbildstelle. 


Vienne. 


XVIE siecle. 


DETAILS DE BORDURES. 


BORDER DETAILS. 46th century. Vienna. Phot. Bundes-Lichtbildstelle. 


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409. BORDÜRENDETAILS. 16. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 46th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVIe siécle. Vienne. Phot 
Lichtbildstelle. Bundes - Lichtbildstelle. 


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440. BORDURENDETAILS. 16. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 46th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVIe siécle. Vienne. Phot. 
Lichtbildstelle. Bundes-Lichtbildstelle. 


“oppagspfipprJ-sopung “jou “eget, “ees »LAX SHYNGYOU AC STIV.LJA ONEISPPYPrT-SOpung youq “euuor4 “Arnjued WI “STIVLAG WAdCUOd 


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Phot. Bundes-Lichtbildstelle. 


Jahrhundert. Wien. 


16. 


. BORDURENDETAILS. 


Bundes-Lichtbildstelle. 


Phot. 


Vienne. 


XVIE siecle. 


BORDURES. 


DETAILS DE 


Phot. Bundes-Lichtbildstelle. 


Vienna. 


{gth century, 


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445. BORDURENDETAILS. 46. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 46th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVIE siécle. Vienne. Phot. 
Lichtbildstelle. Bundes - Lichtbildstelle. 





16. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDURENDETAILS. 


AA. 


Phot. 


XVIE siécle. Vienne. 


“ BORDURES. 
Bundes - Lichtbildstelle. 


E 


DETAILS D 


16th century. Vienna. Phot. Bundes- 


BORDER DETAILS. 


Lichtbildstelle. 


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446. BORDÜRENDETAILS. Brüssel. Manufaktur des Pieter van Aelst. 16. Jahrhundert. Phot. Ed® Alinari. 


BORDER DETAILS. Brussels. Manufacture of Pieter van Aelst. DETAILS DE BORDURES. Bruxelles. Manufacture de Pieter van 
46th century. Phot. Ed"® Alinari. Aelst. XVIe siécle. Phot. Ed™e Alinari. 





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Wien. Phot. Bundes-Lichtbildstelle. 


Jahrhundert. 


16. 


448. BORDURENDETAILS. 


DETAILS DE BORDURES. XVIE siécle. Vienne. Phot. Bundes - Lichtbildstelle. 


Phot. Bundes - Lichtbildstelle. 


Vienna. 


46th century. 


BORDER DETAILS. 


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124. BORDURENDETAILS. 46. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 16th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVIE siécle. Vienne. Phot. 
Lichtbildstelle. Bundes - Lichtbildstelle. 





TAILS. 47. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


vi 


423. BORDURENDE 


DETAILS DE BORDURES. XVII siécle. Vienne. Phot. Bundes - Lichtbildstelle. 


47th century. Vienna. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 





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27. BORDURENDETAILS. 17. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 17th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVII® siécle. Vienne. Phot. 
Lichtbildstelle. Bundes - Lichtbildstelle. 





428. BORDURENDETAILS. 47. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 17th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVIIE siécle. Vienne. Phot. 
Lichtbildstelle. Bundes-Lichtbildstelle. 





429. BORDÜRENDETAILS. 17. Jahrhundert. Wien. Phot. Bundes-Lichtbildstelle. 


BORDER DETAILS. 47th century. Vienna. Phot. Bundes- DETAILS DE BORDURES. XVII siécle. Vienne. Phot. 
Lichtbildstelle. Bundes-Lichtbildstelle. 





18. Jahrhundert. München. Phot. Riehn & Tietze (Riehn & Reusch ). 


NDETAILS. 


y 


BORDURI 


150. 


Riehn & Tietze 


Phot. 


Munich. 





le. 


siée 


xVIne 


ea 
a) 

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= 
re 


ES. 


LS DE BORDURE 


DETAI 


Phot. Riehn & Tietze 


Munich. 


(Riehn & Reusch ). 


18th century. 


TAILS. 


BORDER DE 


“ 


war ange 


EEE TEN 


ae oe es 


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TAILS. 18. Jahrhundert. München. Phot. Riehn & Tietze (Riehn & Reusch ). 


BORDURENDE 


% 


151 


XVIII® siecle. Munich. Phot. Riehn & Tietze (Riehn & Reusch ). 


S. 


BORDUR 


DETAILS DE 


Munich. Phot. Riehn & Tietze (Riehn & Reusch ). 


{sth century. 


;R DETAILS. 


BORDE 


‘(ysnoy 3 uyary) ‘(ypsney 3 uyary) 
AL 3 WY Yq “Yunyy 21 aIIIAX "SINNANOL AG SUV.LIA aL, 8 UyrYy jou “yun “Lamuos Sy "STIV.LAA WACO" 


‘(qosney ¥ uyary ) dpa, 9 Uyply Yoyg “oyun, “wopunyayer "SF “SVIVLAGNAWNGYOU “TSS! 


£44 RE RIES IP SPER 





(or) 8 yeadseyy—jsunyyy ) (ary 8 jead.e yA] 
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133. DIE FOLGE DES HERKULES. HERKULES TÖTET NESSUS. Manufaktur des Michel de Bos zu Antwerpen. Um 1570. 
München. Bayrischer Staatsbesitz. Phot. Riehn & Reusch. 


THE STORY OF HERCULES. HERCULES KILLS NESSUS. : LA TENTURE D’HERCULE. HERCULE TUE NESSUS. Anvers. 
Manufacture of Michel de Bos at Antwerp. About 4570. Munich. Bayarian Manufacture de Michel de Bos. Vers 4570. Munich. Propriété de 
State Property. Phot. Riehn & Reusch. l’Etat de Baviére. Phot. Riehn & Reusch. 





454. FENSTERTEPPICH MIT DEN WAPPEN VON BAYERN UND ÖSTERREICH. Manufaktur des Michel de Bos zu Antwerpen. 
Um 4567. München. Bayrischer Staatsbesitz. Phot. Riehn & Reusch. 


WINDOW TAPESTRY WITH THE ARMS OF BAVARIA AND TAPIS DE FENETRE AUX ARMES DE BAVIERE ET D’AU- 
AUSTRIA. Manufacture of Michel de Bos at Antwerp. About 1567. TRICHE. Anvers. Manufacture de Michel de Bos. Vers 1567. Munich. 


Munich. Bavarian State Property. Phot. Riehn & Reusch. Propriété de I’Etat de Baviere. Phot. Riehn & Reusch. 








133. GESCHICHTE JEPHTAS. Manufakturen des P. Kolenaer und des Jan van der Goten zu Antwerpen. 
Jephta sendet Boten an den Kénig der Ammoniter. Signiert: Van der Goten. Um 1670. Schwedischer 
Staatsbesitz. (Dr. John Böttiger; Svenska Statens Samling af Viifda Tapeter, 1896.) 


STORY OF JEPHTA. Manufacture of P. Kolenaer 

and of Jan van der Goten of Antwerp. Jephta sends 

messengers to the King of the Ammonites. Signed: Van 

der Goten. About 1670. Swedish State Property. 

(Dr. John Böttiger; Svenska Statens Samling af Välda 
Tapeter, 1896.) 


Gobel, Wandteppiche 


L’HISTOIRE DE JEPHTHE. Manufactures de P. Ko- 

lenaer et de Jan van der Goten i Anvers. Jephthé en- 

vois des messagers au roi des Ammonites. Signé: Van 

der Goten. Vers 4670. Propriété de VEtat de 

Suede. (Dr. John Böttiger; Svenska Statens Samling af 
Väfda Tapeter, 1896.) 





456. DIE GESCHICHTE JEPHTAS. DIE BOTEN VOR JEPHTA. Manufaktur Ant- 
werpen. Um 4670. Schwedischer Staatsbesitz. (Dr. John Böttiger; Svenska Statens Sam- 
ling af Väfda Tapeter, 1896.) 


THE STORY OF JEPHTA. THE MESSENGERS BE- L’HISTOIRE DE JEPHTHE. LES MESSAGERS DE- 
FORE JEPHTA. Antwerp manufacture. About 4670. VANT JEPHTHE. Manufacture d’Anvers. Vers 1670. 
Swedish State Property. (Dr. John Böttiger; Svenska Propriété de l’Etat de Suéde. (Dr. John Böttiger; Svenska 


Statens Samling af Väfda Tapeter, 1896.) Statens Samling af Väfda Tapeter, 1896.) 





457. DIE GESCHICHTE JEPHTAS. DER KAMPF MIT DEN AMMONITERN. Signiert: P. Kolvenaer. Um 
1670. Antwerpen. Schwedischer Staatsbesitz. (Dr. John Böttiger; Svenska Statens Samling af Väfda Tapeter, 1896.) 


THE STORY OF JEPHTA. THE FIGHT WITH THE L’HISTOIRE DE JEPHTHE. LE COMBAT CONTRE LES 

AMMONITES. Signed: P. Kolvenaer. About 1670. Antwerp. AMMONITES. Signs: P. Kolvenaer. Vers 4670. Manu- 

Swedish State Property. (Dr. John Böttiger; Svenska Statens facture d’Anvers. Propriété de l’Etat de Suéde. (Dr. John Böttiger ; 
Samling af Vafda Tapeter, 1896.) Svenska Statens Samling af Vüfda Tapeter, 1896.) 


i 
RS 
Pies N 


458. GESCHICHTE ST. KILIANS. AUFFINDUNG DER LEICHEN DER MÄRTYRER. Manufaktur des Balthasar Bosmans 
zu Antwerpen. Um 1688. Dom zu Würzburg. Phot. K. Gundermann, Würzburg. 


STORY OF ST. KILIAN. FINDING THE CORPSES OF THE L’HISTOIRE DE ST. KILIAN. LES CORPS DES MARTYRES 
MARTYRS. Manufacture of Balthasar Bosmans of Antwerp. SONT RETROUVES. Anvers. Manufacture de Balthasar Bosmans. 
About 1688. Würzburg Dom, Phot. K. Gundermann, Würzburg. Vers 4688. Cathédrale, Würzburg. Phot. K. Gundermann, Würzburg. 








Um 1600. 


SENBLATTER. BIBLISCHE EPISODEN. 


KIS 
Provinzialmuseum 


NTWERPENER 


440. EIN SATZ A 


Hannover. 


’ 


UNE SERIE DE DESSUS DE COUSSINS D’AN- 


CUSHION SHEETS. 


OF ANTWERP 
BIBLICAL EPISODES. About 


A SET. 


VERS. EPISODES BIBLIQUES. Vers 1600. Pro- 


Provinzial- 


1600. 


vinzialmuseum, Hannover. 


museum, Hanover. 


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“BINGZIN AA, ‘uuewsapunry “y 40d 
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SPEEA EOL AG Vene 


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442. GROSSBLÄTTRIGE VERDÜRE. Flämische Manufaktur. Zweite Hälfte des 46. Jahrhunderts. 


Bayrisches Nationalmuseum, München. 


LARGE LEAVED VERDURE. Flemish manufacture. VERDURE A GRAND FEUILLAGE. Manufacture 
Second half of the 46th century. Bavarian National flamande. Deuxiéme moitié du XVI® siecle. Bayrisches 
Museum, Munich. Nationalmuseum, Munich. 


pats 


4 


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443. EPISODE AUS DER RÖMISCHEN GESCHICHTE. Oudenaarder Manufaktur. Ende des 16. Jahrhunderts. 
Germanisches Nationalmuseum zu Nürnberg. Phot. Christof Müller, Nurnberg. 


EPISODE FROM ROMAN HISTORY. Oudenarde manufacture. End of the EPISODE DE L’HISTOIRE ROMAINE. Manufacture d’Audenarde. Fin du 
{6th century. Germanisches Nationalmuseum at Nürnberg. Phot. Christof Miller, XVIE siécle. Germanisches Nationalmuseum, Nuremberg. Phot. Christof Muller, 
Nürnberg. Nuremberg. 


Baoqwoann; ‘nm Josayy You “Brequioamy] “wnasnwjeuonen] soqosiueuntory -opg1s BIOGUINN TOD JOST) Yq “Srequinyl ye umosnumeuogen; seyostueusery "Aınyuso 
aTAX "p UL ‘speqner) qooer ep oinjovynueyy 'sojjexnag “YVSTO SATO Ad TYIOLSIH gor 99) so Pag Spgaad qoorp Jo oihjoemueyy, 'spessuig UVSHO SATIGr 40 AWOLS 


‘BIOqUINN “ojnW JoJSLIyT) yoyd “B10 QUINT nz UIMSSNIUJEUOLTENT SOUISTUBUILOL) 
‘sWopUNnqayer “gy Sep Epuy “sjoqnoxy qoyer sop anpfeznuepg '[ossnag “YVSYO SATA SHA ALHOIHOSAD ‘yh! 


5 


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445. GESCHICHTE SIMSONS. DER HELD BRICHT DIE SAULEN DER HALLE. 
Oudenaarder Manufaktur. Um 4580. Berliner Kunsthandlung (J. Hecht). 


STORY OF SAMSON. THE HERO BREAKS THE PILLARS HISTOIRE DE SAMSON. LE HEROS RENVERSE LES 


OF THE HALL. Oudenarde manufacture. About 1580. Berlin GOLONNES DE LA SALLE. Manufacture d’Audenarde. Vers 
Fine Art Dealers (J. Hecht). 1380. Commerce d’objets d’art de Berlin (J. Hecht). 


epee 





446. PYRAMUS UND THISBE. Oudenaarder Manufaktur. Anfang des 17. Jahrhunderts. 
Berliner Kunsthandlung (Altkunst- Margraf & Cie.). 


PYRAMUS AND THISBE. Oudenarde manufacture. Beginning of PYRAME ET THISBE. Manufacture d’Audenarde. Commencement du 
the47t4 century. Berlin Fine Art Dealers (Altkunst-Margraf &Cie.). XVIIEsiecle. Commerce d’ objets d’ art deBerlin (Altkunst-Margraf&Cie.). 





‘opuewaye eseynonaed 9ypudoag “OY9F SPA AAUVNAGAV.G AWIGUAA “(aqog X sousnepy °F) Upeg op ae.p syolqo,p “(aqog 3 Jousnepy “f) saopogg wy ug 
DIOUUUOTY "OP sTAK NP 9nrou oWpınacy uıag “Arnyaeo m9r O41 JO FEY PUrrx0g “AYWLSAd 


-{ygodoad oyeaud uvuuory 9,9) moqy “THACYAA TAUVNAGO SOUANSSV.a SIdVL NOG INIWOIVAUAI “VL SOYWAOSVHVY NV WOW INYAWIVAA 


*‘(uyog x» JeusneTy “f) jepueysuNy sJeUlpTEg 
zysoqgeätıg TOPSNOT 079 UW) "TANAMAA UWICUVVNAGNO "Str ‚spopungagef '9p Sep ARH NMZ "HOIdILLYIASVHV WUNIA SOV LNIWOIVUI Ly y 








OIPPPFT-sSOpung youq “eyuyny.p ig] ep pptudorg “auUetA 'OPQIS JJAX NP 
POW OUIQIME”? “opreuepnyp ounpejnuepy “oyones onsed “ATOOWAN.G AYLOLSIN 
“O[}1SPEMYarT-sepung yoyg “Ayodorg oyeyg uermsny “euUetA 
-Aumyueo dr 24} Jo JPY Puooeg "sanpeznuew epsevepng “SA TAIWAN AO AYOLS 
OISPTLPIPTT-SOPung jou “zysaqsyeeyg IOYDSTTOLIOISG “UI AA “SOpUNqAYEL “9 | Sop OIE 
OOM "anpjeynuey dOpaeeuspng yyluyassny 'SYIMVYAH SAG ALHDIHDSAD '6rr 





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VPS 3IJAX UP 9nrow Sagrwaag “(¢) Ppxeuspny,p Pıny uraog "Äınyuoo mL 9 JO seq Sarg 2anpejnueu 
»ejnuey "YVHdLLOd Ad ANWAA VI LA HddSOL (£)PpAeuspng "FAIM S. WVHdILOd ANY Hddsor 


"CO 3 sousueyY-ysuny[Y) jopuegjsuny soULog ‘syropunysyer °F sop SEIT sıq 
anyyeznue (¢) PpaeeuspnQ "YYHALLOd Sad HIM SVG ANN HAISOL '08r 


EEE wen 





430a. GESCHICHTE DAVIDS. Oudenaarde. Manufaktur des Arnold Cobbaut. Zweite Hälfte 
des 16. Jahrhunderts. Wien. Österreichischer Staatsbesitz. Phot. Bundes -Lichtbildstelle. 


THE STORY OF DAVID. Oudenarde. Manufacture of HISTOIRE DE DAVID. Audenarde. Manufacture d’ Arnout 
Arnold Cobbaut. Second half of the 46tB century. Vienna. Cobbaut. Deuxiéme moitié du XVIE€ siécle. Vienne. Propriété 
Austrian State Property. Phot. Bundes-Lichtbildstelle. de Etat d’Autriche. Phot. Bundes-Lichtbildstelle. 


N 


é : Er 
me 2 





431. GESCHICHTE DES SCHAFERPAARES GOMBAUT UND MACEE. Oudenaarder Manufaktur. 
Erste Hälfte des 47. Jahrhunderts. Berliner Kunsthandel. 


STORY OF THE SHEPHERD COUPLE GOM- HISTOIRE DU COUPLE PASTORALE GOMBAUT 
BAUT AND MACEE. Oudenarde manufacture. First ET MACEE. Manufacture d’Audenarde. Premiere moitié 
half of the 47th century. Berlin Fine Art Dealers. du XVII® siécle. Commerce d’objets d’art de Berlin. 





452. ALTTESTAMENTLICHE (?) EPISODE. Oudenaarder Manufaktur. Erste Hälfte des 47. Jahrhunderts. 


Berliner Kunsthandel. 


EPISODE FROM THE OLD TESTAMENT. (?) EPISODE DE L’ANCIEN TESTAMENT. (?) Manu- 
Oudenarde manufacture. First half of the 17th century. facture d’Audenarde. Premiere moitié du XVIIE siecle. 
Berlin Fine Art Dealers. Commerce d’objets d’art de Berlin. 





455. MYTHOLOGISCHE SZENE. Oudenaarder Manufaktur. Um 1700. Berliner Kunsthandel. 
( Altkunst-Margraf & Cie. ) 


MYTHOLOGICAL SCENE. Oudenarde manufacture. SCENE MYTHOLOGIQUE. Manufacture d’Audenarde. 
About 1700. Berlin Fine Art Dealers. (Altkunst- Vers 1700. Commerce d’objets d’art de Berlin. 
Margraf & Cie.) (Altkunst-Margraf & Cie.) 


Gobel, Wandteppiche 





134. JAGDSZENE. Oudenaarde. Um 1680. Amerikanischer Kunsthandel. 


HUNTS. Oudenarde. About 1680. American Fine SCENE DE CHASSE. Manufacture d’Audenarde. Vers 
Art Dealers. 4680. Commerce d’objets d’art de l’Amerique. 





136. OUDENAARDER (?) GROSSBLÄTTRIGE VERDÜRE. Anfang 
des A7. Jahrhunderts. Deutscher Privatbesitz. 


OUDENARDE (?) LARGE-LEAVED VERDUREAGRAND FEUILLAGE D’AU- 
VERDURE. Beginning of the 17th century. DENARDE. (2) Commencement du XVII® 
German private property. siécle. Propriété partieuliere allemande. 


“LIAOUCTT 
“WINOSNUELZUTAOLT “OZLE OGY “arnqgoejnue ul apaeuspngd “AONVG WYoOY 


‘oAoueyy ‘uwmesnul 
‘opaeuepny p sinjpenueN AYLIdNVHO IANOY 


"WUNOSNLUUTEIZUTAOLT ‚a9aouuef “OCLY uy) “Angyeynueyy JOPIEBUSPNO ‘NOW WHHOITIGNYV'T "CC 


-[eIZULAORT “OZLF SIOA 


> 


ee oa 7 


? Ku 
Pr 





ze z 
rege JP? > Set ee 
CEL OS 





OUDENAARDER WALDTEPPICH. Beginn des 18. Jabrhunderts. Berliner Kunsthandel. (Altkunst-Margraf & Cie.) 


Berlin Fine FORET. MANUFACTURE D’AUDENARDE. Commencement du XVIIle siécle. 
Commerce d’objets d’art de Berlin. (Altkunst-Margraf & Cie.) 


Art Dealers. (Altkunst-Margraf & Cie. ) 


OUDENARDE TAPESTRY. Beginning of the 4gth century. 


ray ganas 


* m 2 > nn =. San ae > ner 
DENE ONT EE Karen rate ae RTOS FH ce YY ad 


theater np; eK TT he 4 
ERTL SAP INS 7 SER ET ie | 


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SE IR 


ur 
Dr 


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er up 


eer OX 


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PEPE RE pips 


PLO PRI cH LO) OO AE CRE BNI 


wy 
es 





160. TENIERSFOLGE. Oudenaarder Manufaktur des Philipp Behagle. Um 1670. Münchener Kunsthandel. 
(L. Bernheimer. ) 


SERIES AFTER TENIERS. Oudenarde manufacture TENTURE D’APRES TENIERS. Audenarde. Manu- 
of Philip Behagle. About 4670. Munich Fine Art facture de Philippe Behagle. Vers 1670. Commerce 


Dealers. (L. Bernheimer.) d’objets d’art de Munich. (L. Bernheimer.) 


“( qasna yf 2p ugary) EZIOLT 7D Uyory Joyg “ogieg ep orguynonied 99rdorg “qorunyy ‘(qosney X uyary) oz], 2 uyary yoyq “Aywodorg oyejG ueriereg Syprunp 
S89} STOA LOOK OP ULL ap aunjoesnueyY ‘(PfrT) SjPXnıg “SAWALNIYd II ‚889 Fr Moqy “([FT) sjessnag jo AO ep uef Jo vanpeynuey “YNTUdS 


‘(qosnoy x» uqery ) azypıL, WY uyery yu 
zyısoqsjee)g aogosruieg uogsunm “Egor WE "(AIT) Pssnıg nz aoyfopy op wef sop amyeznuey “QNITHOYA WAC 19% 








138. OUDENAARDER VERDÜRE. Ausschnitt. Erste Hälfte des 48. Jahrhunderts. Münchener Kunsthandel. (J. Böhler.) 


VERDURE. OUDENARDE. First half of the 18th cen- VERDURE D’AUDENARDE. Premiere moitié du XVIIL® 
tury. Munich Fine Art Dealer. (J. Böhler.) siécle. Commerce d’objets d’art de Munich. (J. Böhler. ) 


ne, 
ER 


El 
aS. 
» 


oe 


Fr 


Mat 





139. AUBUSSON-VERDURE. Zweite Hälfte des 18. Jahrhunderts. Berliner Kunsthandel. (J. Klausner & Sohn.) 


AUBUSSON-VERDURE. Second half of the 18t4 century. VERDURE D’AUBUSSON. Deuxieme moitié du XVIIIE siecle. 
Berlin Fine Art Dealers. (J. Klausner & Sohn.) Commerce d’objets d’art de Berlin. (J. Klausner & Sohn.) 














462. TENIERSFOLGE. DER SCHWEINEHIRT. Manufaktur des Wilhelm Werniers (?) zu Lille. 
Schloß Heiligenberg. Phot. G. Wolf, Konstanz. 


SERIES AFTER TENIERS. THE HERDER OF TENTURE D’APRES TENIERS. LE PORCHER. 
SWINE. Manufacture of William Werniers (?) of Manufacture de Guillaume Werniers. (?) Lille. 


Lille. Schloß Heiligenberg. Phot. G. Wolf, Constance. Schloß Heiligenberg. Phot. G. Wolf, Constance. 





465. LÄNDLICHER REIGEN. Manufaktur des Wilhelm Werniers zu Lille. Um 1755. 
Berliner Kunsthandel. (J. Klausner & Sohn.) 


RURAL DANCE. Manufacture of William Werniers of Lille. RONDE CHAMPETRE. Lille. Manufacture de Guillaume Werniers. 
About 4755. Berlin Fine Art Dealers. (J. Klausner & Sohn.) Vers 1753. Commerce d’objets d’art de Berlin. (J. Klausner & Sohn.) 


Sf SASHA EIEIO NS 


¥ 


x 
* 
va 
>i 
2 | 
SR 


CN ee 


a 


SEE NSE 


ve 


EEE TEE 


IT 


be ee 
uns 


u A 





164. LÄNDLICHER REIGEN. Manufaktur des W. Werniers zu Lille. (?) Um 1725. 
Württembergischer Staatsbesitz. 


RURAL DANCE. Manufacture of W. Werniers of Lille. (?) RONDE CHAMPETRE. Lille. Manufacture de Guillaume 
About 1725. Wurtemberg State Property. Werniers. (?) Vers 1725. Propriété de l’Etat de Wurtemberg. 


‘epuewoare argynonsed ggprıdoag “GyL} SIA “oT “SHOTULO AA X) “OPA A + SLOLUIO AY ‘Aysodoad oyearıd uewaoe) “gyL} moqy "Lo SLOLUIIAA “*) “OPFA 
damejjmx) op sANeA ef ep eampeznuem oT ‘Sa LYVO XNV SINVNOF SNVSAVd SHOUJO AA "AA JO MOPIM oq) Jo sanpeynusy Ol "SAUVD ONIAVId SLNVSVdd 


‘Mseqyealig 19yosyneqq 
CYLE UN In] “SHOTUTO AK X) “OPAA FSTOTUTOAY “AA OMAN JOP angejnuem “OT NUFOVA HANTTIIISNALYVM 89% 


fe 





‘sasnig ‘ajjesnig “y 'Joyg ‘sesnag ‘sueg yO np ogsn]y ‘sodnıg ‘ojjesnig “y “yoyg ‘sesnig ‘Burg yo np sgsnyy 
LEQ} ‘sodnig ep ommporjynuey, "NILLSAINV LS AG SANOITAY SAAC LYOdSNVYLL ‘Leo, payeg  “Ansedey sofmig "ANLLSNINV ‘LS AO SOITAY AHL AO WIASNVYLL 


‘assnig ‘eyjesnag “y J0yq 
Bong nz Bueg IS np aysnyy “LE9} woueq "yarddagppig aesönıg "NILSNIAV "LS SAG NAINOITAYM WAC ONOVAQANAGOA 'S9r 








467. LILLER VERDURE. Manufaktur des W. Werniers. Um 1720. 
Deutscher Privatbesitz. 


LILLE -VERDURE. Manufacture of W. Werniers. VERDURE DE LILLE. Manufacture de Guillaume 


About 1720. German private property. Werniers. Vers 1720. Propriété parlieuliöre allemande. 


he 


5 eco: 


om 


‘ 


ho eee ee 


ary , en SE ee er (SE 


» scene ana 
QE DEP DWAR: Sn FERN FR 


u a ne ee om me Tr ae oe AR ee SS EE 


u ce ee rn pants 
ye i in i A UT RT ae Spe SPSS IN 
RS rn ee u Par SPIES 


nie: AER ar 


S128 


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bd 
7 
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7 
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5 


Se Ne A ae We, 


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Um 4720. 


Werniers. 


Manufaktur des W. 


LILLER VERDURE. 


166. 


atbesitz. 


Deutscher Priv 


Guillaume 


0. Propriété particuliére allemande. 


de 


VERDURE DE LILLE. Manufacture 


Werniers. 


W. 


German private property. 


LILLE -VERDURE. Manufacture of 


72 


Vers 4 


Werniers. 


720. 


About 4 


“OP ISPEMPVT-sepung “oud “eqounny,p OpjegspppprT-sopung “304d 
WIG. OP Hudorg “ouuerA “PRIS JJLAX “SeSnag ep aampejnuey “STOW AZO SAT ‘Ayedorg ug uermsny euuer, “Aumuoo yyy song "SHLNON Zt AML 


-ofogsppqPrf-sOpung “WY "MEINES AOqPstqPWALNSQ “VELA “Wopunysyer “LF “e38nIg “TLVNOW Zt AIC 897 


A 
Br PA Soe ses 





OpJISPLNYPTT-sopung “oy 
9ıjrow 9WPIXNOCAT "Juowwelt) 


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ep sinjoe 


ynuew 4 


OVITING 


“Z4ISaqsyeeyg ALITPISTYILILIIISQC) “USTAA SYAopun 





9rpııdorg 


AT aNVY 


ige “9 


IYAUNau 


"OUU9TA “OpPQIS al AX np 


AA 


Als EEE 


r Sop SRH 


OOM, 


Sen eee Pen aa dela) 
JO jjeq puocsg ‘uess0qspaesdexy 


sopung “04d 


ainjoeynuey], “AYOCUAA AAAVAT 


“uasioqspaeseory anyyezpnuey “AYOCUIA HITULLYITISSOWI “OLY 


a 


‘Ajrodorg eye3¢ uemjsny “euuerA ~“Armjues dr 99 


OUVI! 


Gobel, Wandteppiche 


N 
nn 


a 





469. GESCHICHTE DER IPHIGENEIA. Agamemnon am Opferaltare. Artemis rettet Iphigeneia. Brügger Wandteppich. 
47. Jabrhundert. Deutscher Kunsthandel Berlin. (Altkunst-Margraf & Cie.) 


STORY OF IPHIGENIA. Agamemnon at the sacrificial altar. 
Artemis rescues Iphigenia. Bruges tapestry. 47th century. German 


Fine Art Dealers Berlin. (Altkunst-Margraf & Cie.) 


HISTOIRE D’IPHIGENIE. Agamemnon devant l’autel. Artémis 
sauve Iphigénie. Manufacture de Bruges. XVII siécle. Commerce 
d’objets d’art de Berlin. (Altkunst - Margraf & Cie.) 





171. GROSSBLATTRIGE VERDÜRE. Manufaktur Geerardsbergen. Zweite Hälfte des 46. Jahrhunderts. 
Hamburgisches Museum für Kunst und Gewerbe. 


LARGE-LEAVED VERDURE. Manufacture Geerards- VERDURE A GRAND FEUILLAGE. Manufacture de 
bergen. Second half of the 46th century. Hamburgisches Grammont. Deuxiéme moitié du XVI® siecle. Ham- 
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THE LORD’S SUPPER. Ghent manufacture. About 1360. SAINTE CENE. Manufacture de Gand. Vers 1560. Ger- 
Germanisches Nationalmuseum, Nurnberg. manisches Nationalmuseum, Nuremberg. 





475. WAPPENTEPPICH. Manufaktur des Heinrich van Lacke zu Enghien. 1528. 
Ehedem Sammlung Bacri, Paris. Kunstgewerbemuseum, Budapest. 


COAT-OF-ARMS TAPESTRY. Manufacture of Hend- TAPISSERIE HERALDIQUE. Enghien. Manufacture 
rik van Lacke, Enghien. 4528. Former Bacri Collection, de Hendrik van Lacke. 1528. Jadis Collection Bacri, 
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Phot. Bundes-Lichtbildstelle. 


LARGE-LEAVED VERDURE. Enghien manufacture. VERDURE A GRAND FEUILLAGE. Manufacture 
About 4550. Vienna. Austrian State Property. Phot. d’Enghien. Vers 1350. Vienne. Propriété de I’Etat 
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Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 1896.) 


DIDO AND AENEAS. VENUS AND JUNO. DIDON ET ENEE. VENUS ET JUNON. 
Netherlandish Manufacture. About 4650. Swedish State Property. Manufacture néerlandaise. Vers 1630. Propriété de I’Etat de Suéde. 
(Dr. J. Bottiger; Svenska Statens Samling af Väfda Tapeter, 4 896.) (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 4 896.) 


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Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 1896.) 


BOAR HUNTING. Netherlandish Manufacture. About © CHASSE AU SANGLIER. Manufacture des Pays-Bas. 
1650. Swedish State Property. (Dr. J. Bottiger ; Vers 1650. Propriété de Etat de Suede. (Dr. J. Bottiger ; 
Svenska Statens Samling af Vafda Tapeter, 1896.) Svenska Statens Samling af Väfda Tapeter, 1896.) 





480. GEWIRKTES MEDAILLON. Amsterdamer Arbeit des 47. Jahrhunderts. 
Nederlandsch Museum voor Geschiedenis en Kunst, Amsterdam. 


MEDALLION. Amsterdam work of the 47th MEDAILLON. Manufacture d’Amsterdam. 
century. Nederlandsch Museum yoor Geschiedenis XVIIe siécle. Nederlandsch Museum voor 
en Kunst, Amsterdam. Geschiedenis en Kunst, Amsterdam. 


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487b. AMSTERDAMER WAPPENKISSEN. Watershap van de Rivier de Eem (Utrecht) 1706. 
Nederlandsch Museum voor Geschiedenis en Kunst, Amsterdam. 


AMSTERDAM COAT-OF-ARMS CUSHIONS. 

Watershap van de Rivier de Eem (Utrecht) 1706. 

Nederlandsch Museum voor Geschiedenis en Kunst, 
Amsterdam. 


COUSSINS AUX ARMES D’AMSTERDAM. 

Watershap van de Rivier de Eem (Utrecht) 1706. 

Nederlandsch Museum voor Geschiedenis en Kunst, 
Amsterdam. 





488a. AMSTERDAMER TAFELTEPPICH. Um 1650. Im Mittelmedaillon: Flora. 


Nederlandsch Museum voor Geschiedenis en Kunst, Amsterdam. 


AMSTERDAM TABLE TAPESTRY. About 1650. TAPIS DE TABLE D’AMSTERDAM. Vers 1650. 
In centre medallion: Flora. Nederlandsch Museum yoor Dans le médaillon du milieu: Flora. Nederlandsch Museum 
Geschiedenis en Kunst, Amsterdam. yoor Geschiedenis en Kunst, Amsterdam.’ 





488b. AMSTERDAMER TAFELTEPPICH. Um 1650. Im Mittelmedaillon: Fruchtstück. 
Berliner Kunsthandel (Altkunst-Margraf & Cie.). 


AMSTERDAM TABLE TAPESTRY. About 1650. TAPIS DE TABLE D’AMSTERDAM. Vers 1650. Dans 
In centre medallion: Fruit design. Berlin Fine Art le médaillon du milieu: Tableau représentant des fruits. Com- 
Dealers (Altkunst-Margraf & Cie.). merce d’objets d’art de Berlin (Altkunst-Margraf & Cie.). 


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489. VERDÜRE. Holländische Manufaktur. Beginn des 17. Jahrhunderts. 
Nederlandsch Museum voor Geschiedenis en Kunst, Amsterdam. 


VERDURE. Dutch manufacture. Beginning of the 47th century. 
Nederlandsch Museum voor Geschiedenis en Kunst, Amsterdam. 


VERDURE. Manufacture hollandaise. Commencement du XVII® 
siécle. Nederlandsch Museum voor Geschiedenis en Kunst, Amsterdam. 


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EL 


ORLANDO FURIOSO D 


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EPISOD 


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EPISODE FROM ORLANDO FURIOSO. 


Fecit. 


Frans Spierinex: Franciscus. Spiringius. 
4602. Galleria Poldi Pezzoli 4 Milan. Phot. Ed” Alinari. 


Manufacture de 


Feeit. 
Anno. 


Delft: Franciscus. Spiringius. 


Anno. 1602. Galleria Poldi Pezzoli, Milan. Phot. Ed™© Alinari. 


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492. GEWIRKTE TISCHDECKE MIT EPISODEN AUS DER GESCHICHTE DES TOBIAS. 
Manufaktur des Aert Spierincx zu Delft: Arnoldus. Spiringius. Fecit. Anno. 1626. 
Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 4896.) 


TABLE TAPESTRY WITH EPISODES FROM THE STORY TAPIS DE TABLE AVEC DES EPISODES DE L’HISTOIRE 
OF TOBIAS. Manufacture of Aert Spierinex, Delft: Arnoldus. DE TOBIE. Delft. Manufacture de Aert Spierinex: Arnoldus. 
Spiringius. Fecit. Anno. 4626. Swedish State Property. Spiringius. Fecit. Anno. 4626. Propriété de l’Etat de Suede. 


(Dr. J. Böttiger ; Svenska Statens Samling af Väfda Tapeter, 4 896.) (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 4896.) 





Mander. Fecit. 1622. 


K. 


ie 


TROJAS. Manufaktur des Karel van Mander zu Delft: 


BRAND 


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Gius. 


Ehemalige Sammlung Com. 


arel van 


22. Ancienne Collection Com. 


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Manufacture de 
K. Mander. Fecit. 16 
Cay 


INCENDIE DE TROIE. Delft. 


Mander: I. 


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ander 


Former Com. 


4622. 


Mander. Fecit. 


K. 


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THE BURNING OF TROY. Manufacture of Karel van M 


Delft: 


Ferrara. 


alieri, 


Gius. 


Ferrara. 


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496. ENGELSKA JAKTEN: HASENJAGD. Manufaktur des Maximilian yan der Gucht zu Delft. 
1647. Schwedischer Staatsbesitz. (Dr. J. Böttiger; Svenska Statens Samling af Väfda Tapeter, 4 896.) 


ENGELSKA JAKTEN: HARE HUNTING. Delft. Manu- ENGELSKA JAKTEN: CHASSE AUX LIEVRES. Delft. 
facture of Maximilian van der Gucht. 4647. Swedish State Manufacture de Maximilien yan der Gucht. 1647. Propriété 
Property. (Dr. J. Böttiger; Svenska Statens Samling af Väfda de l’Etat de Suéde. (Dr. J. Böttiger; Svenska Statens Sam- 


Tapeter, 1896.) ling af Väfda Tapeter, 1896.) 





497. ENGLISCHE JAGDEN. Manufaktur des Maximilian van der Gucht zu Delft. 
17. Jahrhundert. Berliner Kunsthandel (Altkunst-Margraf & Cie.). 


ENGLISH HUNTS. Delft. Manufacture of Maximilian van der CHASSES ANGLAISES. Delft. Manufacture de Maximilien van 
Gucht. 47th century. Berlin Fine Art Dealers (Altkunst- der Gucht. XVII® siécle. Commerce d’objets d’art de Berlin 
Margraf & Cie.). (Altkunst-Margraf & Cie.). 





198. FLAMISCHER WANDTEPPICH MIT DEM WAPPEN DES BISCHOFS ZADZIKA. 
(1635.) Kathedrale zu Wawel bei Krakau. 


FLEMISH TAPESTRY WITH COAT-OF-ARMS TAPISSERIE FLAMANDE AUX ARMES DE 
OF BISHOP ZADZIKA. (1655.) Cathedral at Wawel L’EVEQUE ZADZIKA. (4655.) Cathédrale de 


near Cracow. Wawel prés de Cracovie. 


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306. WAPPENTEPPICH UBER DEM KAMIN DES STAATENSAALES IN DER MARIA -ABTEL 
ZU MIDDELBURG. Manufaktur der Witwe des Heyndrick de Maecht und des Laurens de Maecht 
zu Middelburg. 1607. 


COAT-OF-ARMS TAPESTRY OVER THE FIRE- 

PLACE OF THE STATE HALL IN THE MIDDEL- 

BURG MARIA ABBEY. Manufacture of the widow 

Heyndrick de Maecht and of Laurens de Maecht, 
Middelburg. 1607. 


TAPISSERIE HERALDIQUE AU-DESSUS DE LA 

CHEMINEE DU STATENZAAL DANS L’ABBAYE 

STE MARIE A MIDDELBURG. Manufacture de la 

veuve de Heyndrick de Maecht et de Laurens de 
Maecht A Middelbourg. 1607. 





308. GRAF WILHELM I. VON HOLLAND EMPFANGT HAARLEMS WAPPENSCHILD 
IN GEGENWART DES DEUTSCHEN KAISERS. Manufaktur des J. Thybout. Um 1650. 
, Oude Vroedschapkamer " im Rathause zu Haarlem. 


COUNT WILLIAM I. OF HOLLAND RE- 

CEIVES THE HAARLEM ARMORIAL BEAR- 

INGS IN THE PRESENCE OF THE GER- 

MAN EMPEROR. Manufacture of J. Thybout. 

About 4650. ‘Oude Vroedschapkamer” in the 
Haarlem Townhall. 


LE COMTE GUILLAUME I& DE HOLLANDE 

REGOIT L’ECU DE HAARLEM EN PRE- 

SENCE DE L’EMPEREUR D’ALLEMAGNE. 

Haarlem. Manufacture de J. Thybout. Vers 1650. 

“Oude Vroedschapkamer” dans l’Hötel de Ville, 
Iaarlem. 


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309. DAS KASTELL ,,OUD HAARLEM”. Manufaktur des Maximilian van der Gucht zu Delft. 
Um 4668. Frans Halsmuseum zu Haarlem. 


THE STRONGHOLD “OUD HAARLEM”. Delft. LE CHATEAU FORT “OUD HAARLEM”. Delft. 
Manufacture of Maximilian van der Gucht. About 1668. Manufacture de Maximilien yan der Gucht. Vers 1668. 
Frans Halsmuseum, Haarlem. Frans Hals Museum, Haarlem. 





340. GROSSBLÄTTRIGE VERDURE. Manufaktur des Wilhelm Andriesz de Raet zu Leiden. 
Um 4565. Lakenhal-Museum zu Leiden. 


LARGE-LEAVED VERDURE. Leyden. Manufacture VERDURE A GRAND FEUILLAGE. Leide. Manu- 
of Willem Andriesz de Raet. About 4565. Lakenhal facture de Willem Andriesz de Raet. Vers 1565. 
Museum, Leyden. Lakenhal-Museum a Leide. 


“wiajree yy ‘aqua ap [SIOH.T “Og9r SHA mogÄyL 'f ep eanjoesnuey ‘yeyumoy, wopreeyy “OSgy noqy “moqdyy, 'f JO eaMyoesnueu oy Woy 
-wojaeepf ‘ofjonszed onbiydeagojoyd uononpowdoy “LYAWOAG AG AYOWAd VI Ansode yz, ‘wojreezy “ydeasojoqd weg (LVAWOG AO HOQOWHL AVANA IHL 


"wojleer] nz sneqyey “OCOr wy) 
wopeepy nz ynoqiyy “f sep amyyeynueyy op sne yorddaypue yy “omyouynepay, ~LYAWOG NOA HOQWHHOWAG WAC “406 





Stadtmarke 
Tournai mark 
Marque de Tournai 


Brussels, 15% century. Brüssel, 15. Jahrhundert. Bruxelles, XV® siecle 


BEM WOE TIA3 iQ 


(Brussel-Brabant). Geschichte Trojas. Victoria and Albert Museum, London. 
The Trojan War. L’Histoire de Troie. 


Pieter van Aelst 
4495— 1532 


| BR | 


Et [Is +s = 


SSS SSS SS 


/) 


wertet MR 


Tr HAUFE 
Alst, Astl, Ael’st, Al’ste, Ailst. Passion zu ME Passion. Angers 





Briissel, 16. Jahrhundert. Brussels, 16th century. Bruxelles, XVI° siecle 


IBYB BUB BSB BWB 
atid BB BB BOBS US 
BUBB& B® OBBAB 
BYBBYYB BYBes 
BOB BU BBEB WE 
b S B B U B RK U D 
CO) 4UB b¥h 
{0B bd Lobwi 
PUG BRA-UBRVAELL'S 


Meistermarken. Brüssel, 46.Jahrh. Weavers’ marks. Marques de Tapissiers 

















Stadtmarke 
Brussels mark 
Marque de Bruxelles 

















Wilhelm de 
Pannemaker 
4335—1378 





Wilhelm de 
Pannemaker? 
(Gesch. Abrahams, 

Wien und Madrid.) 

(The Story of Abraham, 
Vienna and Madrid) 

(L’Histoire d’Abraham, 

Vienne et Madrid) 





Brüssel, 46. Jahrhundert. Brussels, 16 century. Bruxelles, XVI® siécle 


Franz Geubels 
4340—1390 


Mitarbeiter des 
Franz Geubels 


Geschichte des 
Romulus und Remus, 
Wien 
(The Story of Romulus 


and Remus, Vienna) 


(L’Histoire de Romulus 
et Rémus, Vienne) 


Jakob Geubels I. 
1385 —1605 


Jakob Geubels II. 
um 4625 
about 1625 
vers 1625 


Nikolaus Helline 


2. Hälfte des 
46, Jahrhunderts 


Katharına 
van den 
Eynde, 
die Witwe des 


Jakob Geubels. 
4605—1629 


(the widow of 
Jacob Geubels) 


(la veuve de 


Jacob Geubels) 


Nicolas Hellinc 
Second half of the 16th century 
Deuxiéme moitié du XVIE siécle 





Brüssel, 16. Jahrhundert. Brussels, 16tb century. Bruxelles, XVI° siecle 

























Georg Wezeler (?) 


Zweites Drittel 
des 16. Jahrhunderts. 
Geschichte des Ver- 
tumnus und der Pomona, 

Madrid, Wien 

Second third of the 
46th century. The Story 
of Vertumnus and Pomona 

Madrid, Vienna 
Deuxiéme tiers du 
XVIP° sidcle. L’Histoire de 
Vertumnus et de Pomone, 
Madrid, Vienne 


Johann van Tiegen 


Mitte 
des 46. Jahrhunderts 


About 1550 
Vers 1550 


Anton Leyniers 
(4540 —1575) 
Jakob Leyniers 
(1576, 4585) 










... Leyniers (?) 
Geschichte Scipios, Madrid 
Mitte des 46. Jahrhunderts 
The Story of Scipio, Madrid. 
About 1550 
L’Histoire de Scipion, 
Madrid. Vers 1550 









Nikolaus 
Leyniers (?) 
Um 4570 
About 1570 
Vers 1570 


















Jan Gheeteels (?) 
2. Drittel des 16. Jabrb. 
Jagden Maximilians, Paris. 
Apokulypse, Madrid 
Second third of the 
16th century. The Hunts of 
Maximilian, Paris. 
The Apocalypse, Madrid. 


Deuxiéme tiers da 
XVle siécie. Tes Chasses 
de Maximilien, Paris. 
L’Apocalypse, Madrid 


Leo van den 
Hecke 
Um 1373 
About 1575 


Vers 1575 


(ed 


Brüssel, 16. Jahrhundert. Brussels, 16 century. Bruxelles, XVI® siécle 






Jan van den Hecke, 
+ 4633 


















Hubrecht Nikolaus 
de Maecht van den Hove 
Um 4575 Um 4575 
About 1575 About 1575 







Vers 4575 Vers 1575 










The Passion, Vienna. About 1570 






Wilhelm Segers (2) 


Die Leiden Christi, 


La Passion, Vienne. Vers 1570 
Wien. Um 1570 ; 





Corneille Tseraerts ? 


® Zweite Hälfte 
un des 46. Jahrhunderts 


x About 1575. Vers 1575 

















Cornelius Mattens 
1575— 1644 



















Second quarter of the 


46th century. The Story 
of Joshua (Vienna). The 
Creation, Romulus and Re- 
mus. The Story of Scipio. 
Deuxiéme quart du 
XVIE siécle. L’Histoire de 
Josué (Vienne). Romulus et 
Rémus. L’Histoire de Scipion 
La Création 


Franz Raes (?) 


















Marc Cretif 


Zweites Viertel 
des 46. Jahrhunderts. 
Geschichte Josuas 
(Wien), Erschaffung der 
Welt, Romulus und Re- 
mus, Gesch. Scipios. 


Jakob 
de Carmes 
—1360 
































About 1550, Story of To- 









Hector Vueyns (?) 


Um 1550 Um 4550 bit.Madrid. Story of Jacob, 
About 1550 Geschichte des Vers 4550, L’Histwire 
Vers 1550 Tobias, Madrid. deTebie. Madrid. L’Hi- 


Gesch. Jakobs, Bayr. stoire de Jacob. Bayr. 


Verdüren mit Affen, 
Nat.-Mus. Munchen Nat.-Mus. Munich 


- Die Sphären (Madrid) 


Verdures, The Spheres 
(Madrid) 
Verdures et Singes, 
Les Sphéres (Madrid) 
e 


Ungedeutete 
Marken 


42 Monate, Apostelgeschichte 
(Wien, Madrid). Geschichte 
des Cyrus (Madrid). 
(Ob Nikolaus Leyniers?) 


The 12 Months. The Deeds 
of the Apostles (Vienna, 
Madrid). The Story of Cyrus 
(Madrid) 

Les 12 Mois. Les Actes des 
Apötres (Vienne, Madrid). 
L’Hlistoire de Cyrus(Madrid). 
(Nicolas Leyniers ?) 


Brüssel, 16. Jahrhundert. Brussels, 16% century. Bruxelles, XVI° siécle 


Ungedeutete Meister- Geschichte Abrahams. Geschichte Abrahams, 
marken Wien Wien 


Weavers’ marks Story of Abraham. Story of Abraham. 


Marques de Tapissiers cone Vienna 


L’Histoire d’ Abraham, L’Histoire d’Abraham, 
Vieune Vienne 


Leben z ; 
des Apostels Paulus. Geschichte des Tobias. 
Wien Wien 


Life of St. Paul. Story of Tobias. 
Vienna Vienna 


La Vie de St. Paul. L’Histoire de Tobie. 
Vienne Vienne 


Geschichte des Geschichte des | „ Tseraerts (2) 
Tobias. Wien Tobias. Wien Rn Alexan- 
Story of Story of ers d. Gr., Boston 


} é : Story of 
Tobias. Vienna Tobias. Vienna Aleander 


L’Histoire de L’Histoire de the Great. 
Tobie. Vienne Tobie, Vienne Boston 
L’Histoire 
d’Alexandre le Grand. Boston 


Die sieben Todsunden. The Story The aes 
h Madrid : of St. Paul Les 7 Péchés 
The A Sins. I L’Histoire de moitels. 
rect St. Paul. Madrid CollectionPalmer 
Les 7 Péchés mortels, : 
Madrid Die 7 Todsunden, 


Sammlung Palmer 


The Triumph Fischerflotte. 
of David Sammlung Vicomtesse 
La THeaphe Mearee de Suint Seine 
de David. The fisher-boats 
Collection Ffoulke, | La flotille des pécheurs. 


Washington Collection Vicomtesse 
Maurice de Saint Seine 


Gesch. des Paulus. Mediid 


Triumph Davids, Sammlg. Ffoulke, Washington 


’ 7 Wappenteppich der Nürnberger 
The Temptations of Familie Haller. 
St. Antony Germ. Nat.-Museum Nurnberg 
Les Tentations de Coat of Arms Tapestry of the | 


St. Antoine, Madrid Haller at Nuremberg 


. : Tapisserie héraldique des Haller 
Versuchungen des hl. Antonius. Madrid Ne 


Leben Abrahams. Taten 


des Joäo deCastro Wien 
The Life of Abraham 
The Deeds of Joäo de 
Castro. Vienna 
La Vie d’Abraham. 
Les Actes de Joao 
de Castro. Vienne 


Leben Abrehams. Wien 
The Life.of Abraham. 


Vienna 


La Vie d’Abraham. 
Vienne 


Tuten der Apostel, Fi renz. Dir 
42 Monate, Leben Alexanaers d. Gr. 
(Wien). Schlachtenszeneu (Boyr. 
Nat.-Museum Munchen) 

The Deeds of the Apostles, Florence. 
The 12 Months. The Life of Alexander 
the Great (Vienna). Battles. 
Les Actes des Apötres, Florence. 
Les 42 Mois. La Vie d’Alexandre 
le Grand. La Bataille. (Bayr. 
Nat.-Mus. Munich 









Brüssel, 16. Jahrhundert. Brussels, 16 century. Bruxelles, XVI° siécle 


: Lhe Deeds of the 
Dealers’ marks (2) + Apostles, Vienna 
Pees Les Actes des Apötres 
de Marchands (?) hp Laces 
ienne 


Angcbliche Händiermarke (2) | APostelgeschichte. Wien 


















Ungedeutete Meister- 
marken 


Weavers’ marks 
Marques de Tapissiers 
























Verdiiren, Gir- V { 
landen (Kunsthandel) Lana 
Verdures, Garlands. Madrid 






Trade in works of art. 


Verdures, Guirlandes 
Commerce d’objets 
d’art. 


The Temptations | 
of St. Antony 
Les Tentations 
de St. Antoine. 

Madrid 
























Geschichte des 
Paulus. 
Haddon-Hall 


The Story of St. Paul 
L’Histoire de St. Paul. 
Haddon-Hall 


Andreas Mattens (?) 


Monatsfolge (Dezember). 
Sammlung Ffoulke, 
Washington 
The 12 Months (December) 
Les 42 Mois (Decembre). 
Collection Ffoulke, 
Washington 













































Geschichte Isaacs 


Geschichte des Scipio. 














, : Kreuztra h 
Berliner Kunsthandel und Jacobs. Madrid une 
< ee The Story of Isaac : 
he ea re Pe Carrying the Cross. 
15 Be la ul L’Histoire d’Isaac Vienna R 
ee “ee ae Bie Sacer Le Christ erucifere. 
alers. Madrid Vienne 
Commerce d’objets ‘ 
dart de Berlin. 




























Das Jüngste 


Geschichte Jakobs. RER 


Anbetung der 
























ee heil. drei Könige. 
The Story of Jacob. Madrid 5 
ame pienna Le Jugement The Magi. 
L’Histoire de Jacob. en Les Trois Mages. 
Dane Madrid Madrid 















Apokalypse, Madrid. 















Jagden Maximilions, Paris. Geschichte 
The Apocalypse, Madrid. Cäsars. 
The Hunts of Maximilian, Florenz 
an AL The Story 
L Apocalypse, Medrid. of Cesar 
Les ur 3 Maximilien. LHistoire de Jules César. 
id Florence 


Feste 
















































Taten der Apostel. Wien Heinrichs III. 
Madrid The Deeds Florenz 
The Deeds of the afkihe The Festivities 
Apostles Apostles. of Henry II. 
Les Actes des Apotres. a Lens 
Madrid es Actes ee 
des Apötres. Henri III. 
Florence 






Vienne 


Brüssel, 16. Jahrhundert. Brussels, 16th 


Geschichte des Herkules. 
2. Hälfte des 46. Jahrh., 
Gobelins-Museum, Paris 


The Story of Hercules. 
Second half of the 
A6th century, 


L’Bistoire d’Hercule. 
Deuxiéme moitié du 
XVIE sidécle. 
Musée des Gobelins, Paris 


Straußenjagd. _ 
Sammlung Braquenié 
Ostrich Hunt 


La Chasse ä !’Autruche. 
Collection Braquenié 


Die Jahreszeiten, 
Taten der Apostel. 
Rom 
The Seasons. The 
Deeds of the Apostles 
Les Saisons. Les Actes 
des Apotres. Rome 


Christi 
Fleisch werdung. 
Madrid 
The Incarnification 
of Christ 
L’Incarnation 


du Christ. Madrid 


Geschichte des Paulus. 
Bayr. Nat.-Museum, München 


The Story of St. Paul. 


L’Histoire de St. Paul. 
Bayr. Nat.-Museum, 
Munich 


Geschichte Abrahams. 


Bayr. Nat.-Museum, 
München 


The Story of Abraham 


L’Histoire d’Abraham 


Bayr. Nat.-Museum, 
Munich 


century. Bruxelles, XVI® siecle 


Geschichte Triumph der 
des Paradieses. Liebe. 
Florenz Sammlung 
The Story of Boson 
the Paradise. The Triumph 
L'Histoire du of Cupid 
Paradis. Florence | Le Triomphe 
de ?Amour. 
Collection 
Braquenié 


Vertumnus 
und Pomona. 
Sammlung, Baron 
Erlanger. Paris 
Vertumnus 
and Pomona 
Vertumnus 
et Pomone. 
Coll. Erlanger, Paris 


Geschichte 
Davids. 
Rom 


The Story 
of David 


L’Histoire de 
David. Rome 


RR 


Triumphe der Götter. Französ. 
Staatsbesitz, Paris 
The Triumphs of the Gods. 
French State Collection 
Les Triomphes des Dieux. 
Collection de l'Etat de France, Paris 


The 42 
Months 
(so-called 
Months of 
„Lukas”) 


Geschichte des Cyrus. 
Sammlg. Graf N. Brahe. 
Skokloster 


Story of Cyrus 
L’Histoire de Cyrus. 
Coll. Count (Comte) 
N. Brahe. Skokloster 


Geschichte Gideons. 


Kathedrale zu Albarracin 
The Story of Gideon 
L'flistoire de <4 édéon. 
Cathedral (Cathédrale), 
Albarracin 


The Life of Christ, 4537. 
Dresden 
La Vie du Christ, 4557, 
(Dresde). 
4558 (Bayr. Nat.-Mus. 
Munich) 


Himmelfahrt, 
Abendmahl. Dresden 
Himmelfahrt, 1537, 

4558. Bayr. 
Nat.-Mus., Munchen 


Apostelgesch. 
Wien 
The Deeds of the 
Apostles. Vienna 
Les 

Actes des 
Apötres. 

Vienne 


Die sechs Weltzeit- 
alter. Buch der 
Könige. Wien. 
Geschichte des 

Biskia. Stockholm 

The 6 Periods of 

the World. 

The Book of Kings. 


Vienna. 


The Story of Hezekiah. Stockholm 


Les 6 Epoques du Monde. Le Livre des Rois. 
Vienne. L’Histoire d’Ezéchias. Stockholm 





Brüssel, 47. und 48. Jahrh. Brussels, 47tb and A8th century. Bruxelles, XVII® et XVIII® sidcle 


Martin Reynbouts 
1370—1649 


Heinrich Reydams I. 
4629—1669 
ae Die letzte Marke findet 
Heinrich Reydams II. sich auf einer Geschichte 
1665— 1719 der Esther, die beiden 
vorhergehenden Marken 
auf der Geschichte Sim- 


sons (Madrid) und einer 
Girlandenfolge 
(Madrid) 


a, : Story of Samson. Garlands 


(Madrid). c. Story of Esther 
a, b. LHistoire de Samson, Guir- 
landes (Madrid). c. L’ Histoire d’Esther 
EVERAERT-LRNIERS- 


Everaert Leyniers 


~~ | EL, FLEWIERS 
=== |LANLEYNIERS. 
ee" |D-LEXNIERS 


17501 768 


com | VLEYNIERS:DL 


Franz van den 
Hecke 
1650 —4665 





10 
Brüssel, 47. und Bruss 148 Bruxe XVII® et Ile s 
Franz van den 
H h 
65 


Tune ‚VANDEN HECKE! 


crm. JONNES-FRANGISCVS: 
VANDEN-HECKEFECIT 


| |FPVANDEN'HECKE 
IAN FRANCIS “VAN DEN HECKE 





1 








RS 17. Jahrhundert, Brossels, 17% CONAN ls: Sl siecle. 











Jan Raes II. 
4620— 1657 


















Jan Raet 
4625 —4644 


Jan Aerts 

um 1630 
About 1630 
Vers: A630 







{ Die beiden letzten 
| Marken befinden sich 
| auf der Geschichte des 
I Odysseus (Schwe- 
discher Staatsbesitz) 













Franz van Maelsack 
1629 — 






History of Ulysses 
U ame d’ Ue Stockholm 
Bernaert 
van Brustom 
1623— 









Jakob Cordys I. 
+ 1659 







Jakob Cordys II. 
priv. 1690 















Peter van den Berghen I. 1610. P. v. Berghen II. 1630 


Gaspar van Bruggen 
1640-—1665 


IV: BRVGGEN 
M-PROVOOS T: 











M. Provoost 
Mitte des 47. Jahrhunderts 
About 1650 
Vers 1650 





Brussel, 47. und 48. Jahrh. Brussels, 47th and 48th century. Bruxelles, XVII® et XVIII® siécle 


Heinrich Mattens 
4629—1670 


Jan Mattens (2) 
+ 1634 Landscapes with shields of arms, 
Landschaften mit Wappen. IA Si Count Oriate 
Graf Oriate Paysages. Comte Oriate 
Balduin van Beveren 0 ° 
— 1651 
Jakob Coenot 
4650—4705 Ms 
Aegidius van Habbeke N \ e 
4640—1659 


a AN-DRIES MS 
— AND 


__| VANDEN-DRIES 
‘arte | JAN: LE-CLERC-D-1- 
“=| FLE-CLERC 
"| ZB.VERMILLION 
‚au. [COBY GS aaa 


Erasmus 
de Pannemaker 
A644 —A 685 





13 


Brussel, 47. und 48. Jahrh. Brussels, 47th and 4gth century. Bruxelles, XVII® et XVIII® siöcle 


Franz van Ofhuys (9) 
1776, 4794 








Heinrich van Assche 
1635 — 1680 


HENDRICK VAN ASSCHE 


D-EGGERMANST: 
IMANIELEGGERMANS:F 
|'V-ZEVNEN IV 2 
V-ANCEVNEN. 


Ml ak R MA RO 
MA-ROELANTS 










Daniel Eggermans I. 
+ 4645 
D. E. II. 
Ende des 47. Jahrhunderts 
End of the 47th century 
Fin du XVII® siécle 























Jakob van Zeunen 

Josse van Zeunen 

2, Drittel des 47. Jahrh. 

Second third of the 
47th century 


Deuxiéme tiers du 
XVII® sidcle 











Matthias Roelants 
4640 —1663 


Jooris Liemans 
4665, Doyen 






Daniel Abeloos 
4663, priv. 









DABBELOOS 
iAN-PERMENTIER@ 


Jan Parmentiers 
1633—1680 


__JANVAN'LEEFDAEL 
~ | GVILLAM-LEELDAFL 


m (Guilam 


st | GVILLAMEVANLEEFDAEL 
GVILLAM-VLEEFDAEL 









= Jar ea 


47. Jahrhunder 


“JAC. en 


= su WER BORCHT !V.D.B. 


IVB |-V»-B 
1.\R.BORCHT.A.CASTRO 
GN.BORGHT 
| AG2TRO FEC 
=="! FW DBORGHT 

| FUD'BORCHT ev >> 















Brüssel, 17. Jahrhundert. Brussels, 17'" century. Bruxelles, XVII® siécle 


Triumph Seipios. Madrid 
The Triumph of Scipio 
Le Triomphe de Scipion 


Schöpfungs- 
geschichte. Madrid 


Geschichte Scipios. 
Madrid 


The Creation 
The Story of Scipio 


La Creation 
L’Histoire de Scipion. 
Madrid 


Geraert Bernaerts (?) 
Gombaut et Macée. 
Sammlung Braquenié 


Gombaut and Macée. 
Collection Braquenié 


Geschichte Simsons. 
Schloß Vaugoubert 


The Story of Samson. 
Castle of Vaugoubert 


L’Histoire de Samson. 
Chateau de Vaugoubert 


M. Wauters (?) 


Geschichte der Semiramis, 
Rom 


The Story of Semiramis 


L’Histoire de Sémiramis. 
Rome 


Jan Aerts (?) 
Schöpfungsgeschichte. 
Madrid 


The Creation 
La Creation. Madrid 


Schöpfungsgeschichte. 


Madrid 
The Creation 
La Creation. Madrid 


slına, the Books of Judges 


and of Kings. Vienna 


Génése. I.’Histoire de Jo- 


pué, les Livres ces Juges A 
et des Rois. Vienne NW. 


Genesis. Buch Josua, der Richter u. Könige. 


Verdüren. 
Madrid 


Verdures 


Taten der Apostel. 
Madrid 


The Deeds of the 
Apostles 


Les Actes des 
Apötres. Madrid 


Szenen aus der 
Geschichte 
Roms. Rom 


of Rome 
L’Histoire de 
Rome. Rome 


Geschichte der 
Kleopatra, 
Taten des Scipio. 
Madrid 
The Story of 
Cleopatra. The 
Deeds of Scipio 
L’Histoire de 
Cléopatre. Les 
Actes de Scipion. 





Geschichte 
Alexandersd. Gr. 
Madrid. 
Wahrscheinlich 
ein Mit,lied der 
Familie 
Abeloos 


The Story of Alexander tlie Great 


L’Histoire d’Alexandre le Grand, 
(.... Abeloos?) 


Die 7 Tugend 
Die Taten des wits Rz 


Herkules. Samm- The 
lung Braquenié # 7 Virtues, 
The Deeds of Vienna 

Hercules 

Les Actes d’Hercule Les 
Collection 7 Vertus. 
Braquenié Vienne 


N Brüsseler Meister um 1600 


Brussels Weaver 
about 1600 
Tapissier de Bruxelles 
vers 1600 


Peter 
van Sinay (?) 
Schöpfungs- 
geschichte, 
Bourges 
The Creation 
La Création. 
Bourges 
Die Taten des 
Scipio. Madrid a 
The Deeds of 
Scipio 
Les Actes de 
Scipion. ’ 
Madrid 


Ornamentaler Teppich, Schiff, 
Grotesken, Wappen. 

Bayr. National-Museum, München 
Ornamental Tapestry, Schip, 
Grotesques, Shields of Arms. 

Tapisserie ornementale, Navire, 
Grotesques, Armoiries, 
Bayr. Nat.-Museum, Munich 


Stadtmarke 
Antwerp mark 
Marque d’Anvers 


Jan van der Goten 
4660—1683 


Jakob van der Goten 
— 1720 


P. Kolenaer 
etwa 1660 


Balthasar Bosmans 
41680— 1695 


Cornelius 
van Bomberghen 
(Ballenmarke) 
um 1500 
(Bale-mark), about 1500 


(Marque de ballot), 
vers 1300 


Martin Cordier (?) 
ABTS—1390 
Triumphe nach. Petrarca. 
Madrid 


The Triumphs of Petrarch 


Les Triomphes de Pétrarque. 


Medrid 


M. Wauters 


Fraglich, ob in Brussel, 
Antwerpen oder Rom tatig 


Brussels, Antwerp or Rome? 
Bruxelles, Anvers ou Rome? 


Peter VV auters 
um 1675 
About 1675 
Vers 1675 


41 


Antwerpen. Antwerp. Anvers 


VANNFRANTM 


about 1660 
Vers 4660 


P-ROLVENAER 


B B OSMUN sAnvers 


M. de Bos. 1360—1580 


M)*B0S 


Autwerp marks (Story of Hercules) 
Marques d’Auvors 
(L’Histoire d’Hercule). Residenzinus. 
Munich 


Stadtmarken auf der Herkules- 
folge in dem Residenzmuseum 
zu München 


MAW. mwavters 
PEETER WAVTERS 





18 


Kleine Manufakturen. Small Manufactures. Petites Manufactures 


Lowen 
Louvain 


Mecheln 
(Stadtwappen) 


Malines 
(City-arms) 
(Armes de la ville) 


St. Truijen 
St. Trond 
(Stadtwappen) 
(City arms) 
(Armes de la ville) 


St. Truijen Wirkermarke? 
St. Trond, Weavers mark ? 
Marque de Tapissiers? 


Stadtmarke 
Town-mark 
Marque de la ville 


Wirkermarken 1545 


Weavers’ marks 
Marques de Tapissiers 


4. Jan de Bleeckere 
2.3. Anton van den Neste 
oder Jan de Wäghenere 

4. Jan- Talpaert 
5. Arnould Cobbaut 
6.7. Arnould Cobbaut 
8. Thomas Nokerman 
9. Peter de Brauere 

40. Hubert Stalins 

44. Gilles Mahieas 

42. Josse Walrave 

45. Jan Dervael 

44. Jan de Clynckere 


| (Stadtwappen) 


| 
h 


(City-arms) 
(Armes de-la ville) 


Bergen op Zoom 
(Stadtwappen) 
(Gity-arms) 

(Armes de la ville) 


Großblättrige Verdüren. 
Schloßmuseum Berlin 


Large leaved Verdures 
Verdures a grand feuillage 


TU 


BE 
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19 





































Be: Oudenaarde. Oudenarde. Audenarde 


45. Jakob Benne 
46. Peter Willemets 

47. Mathieu van Boereghem 
48. Arnould van den Kethele 
449. Peter van Rakebosch i 
20. Willem yan den Capellen 
24. Jan Pontseel 

22. Jan Buogaert 

25. Jakob van den Broucke 
24. Remi Cruppenn 

25. Gilles Moreels 

26. Martin van den Muelene § 
27. Peter Robbyns. 1585 
28. Petervan Kercken. 1616 
















Verdiire 
46. Jahrhundert. 


Graf N. Brahe 
Skokloster 


Verdure 
46th century. XVI® siecle. 
Count (Comte) N. Brahe 
Shokloster 





Michel van Orley (?) 
1347—1567 
Geschichte des Herkules 
(Wien) 

Story of Hercules (Vienna) 
L’Histoire d’Hercule (Vienne) 
















Franz van den Steene 
um 1575 
About 4575. Vers 1575 


Philipp Behagle 


—1678 


Jan van Verren 
1638 —1700 









Diana und Merkur 
46. Jahrhundert 
Di:na and 

Mercury 
















Verdüre 
46. Jahrhundert. 


Verdure 
46h century. XVI® sidcle 
Musée des Gobelins. Paris 













et Mercure XVIE siécle. 


Verdüre 

47. Jahrhundert. 
Schwedischer Staatsbesitz 
Verdure, 47* century 
Swedish State Property 
XVII siécle. Propriété 

de l’Etat de Suéd 

Musée des Gobelins. Paris $ Es 


LOF LF¢ LeLr 


DE-MELTER 
IG. WARNIERS GW, 
VEDE-GWERNIERS- 












Stadtmarke 
Town-mark 
Marque de la ville 












Jan de Melter 
4688—1698 





Wilhelm Werniers 
4698—A 738 














Witwe Werniers 
47358—AT778 
The Widow of Werniers 
La Veuve de Guillaume 

Werniers 


Brügge. Bruges 


Wappenfolge. 46. Jahrhundert. 
Madrid 


nn Tapestries 

16" century 
en Tenture héraldique, XVI° siécle. 
Town-mar Madrid 


Marque de la ville 


Crayloot 
46. und 47. Jahrhundert 
46th and 47th geutury 


XVI® et XVIT® sidcle 
Opferung der 


Iphigeneia Gesch. der Diana. 
47. Jahrhundert. 47.Jahrh. Madrid 
Rom 
Story of Iphigenia 
Ira century 
L’Histoire d’Iphigenie 


Rome Story of Diana, 47* century 


L’istoire de Diane, 
DEREN. Te 
Geerardsbergen (Grammont) 

Stadtmarke 


Town-mark 
Marque de la ville 


Unbekannte Meister 
Ende des 46. Jahrhunderts 
Grammont Weavers ; : 
End- of the 16% century 
Tapissiers de Granimont 
Fin du XVI® sid&cle 


Abendmahl. 
Bayr. Staatsbesitz 


Stadtwappen 


City-arms 
Armes de la ville 


The Lord’s Supper. 
Bavarian State Property: 
La sainte Céne. 
Propriété de l’Etat de Baviére 


Termonde 


Stadtwappen 


SEE | ehe IT 
i 


w 


=| 
TESTU 





Nicolas Billet 
—1728 


Stadtmarke 
Town-mark 
Marque de ville 


Meistermarken 
Weavers marks 
Marques de Tapissiers 
Quentin Flascoen 
um 4575 
About 1575 
Vers 1575 


Philipp 
van der Cammen 
4370—1390 


... van Lacke. 
Wappenteppich 
um 1530 


Coat-of- Arms Tapestry 
about 4550 


Tapisserie héraldique 
vers 1550 


Heinrich 

van der Cammen. 
Um 1640 
About 1640 
Vers 1640 


Wappenteppich 
um 41550 
Coat-of-Arms Tapestry 
about 1530 
Tapisserie. héraldique 
vers 4530 


Valenciennes 


Laureis Flascoen 
(Urkunde). 
4523, 1333 
(Document) 


Jehan van der 
Cammen. 
Um 4575 
About 4575 
Vers 1573 


... van der Um 1550. 


Cammen. „Wien 
Großblüttrige 
Verdure. 
Large leavedVer- 
dure about 1350 
Vienna 4 
Verdure a grand feuillage 
vers 4550. Vienne 


Um 1575 
About 1575 
Vers 4575 


Flemish Manufacture. 
Large leaved Verdure 


Manufacture flamande. Ver- 
dure & grand feuillage. Munich 


XN 


Philipp 
van der 
Cammen 


4576 


.... van der 
Cammen. 
Ende des 46. Jahrb 
End of the 46th cent 
Fin du XVI® siécle 


Sturz Phastons. 

46. Jabrh. Germ. 
Nat.-Museum, Nürnberg 
The Fall of Phaeton. 
46th century 
La Chute de Phaéton. 
XVIEP siécle 


Ath (Stadtwappen) 


Ath (Stadtwappen). Ath 
als (Armes de la ville). 









Stadtwappen 
City-arms 


Armes de la ville 


oO 


Lee ee 


Stadtwappen 
City-arms 1A | 
Armes de la ville 
Alexander Baert I. 
A698—ATI9 - 
A. Baert 11. A BAERT 


4719— 4732 
Schoonhoven 




















| len) 
MO DKL 
) 


| IM 
Pat 
Ill 


PK 


Da Fe 
=, LLY D Hw 16847 
TPRANICISCVS -SPIRINGIVS«FECIT-A:}602 





Stadtwappen 
City-arms 
Armes de la ville 




































Franz Spierincx 
4392—1630 








Arnold (Aert) 


Fa ‘a Akt  aNo 762 u 


| ARNOLDVS-SPIRINGIVS-FECIT-ANNO-j626 






Karel van Mander 
41615—4623 


Pauwels Rombouts. 
Um 4623 
About 1623 
Vers 1623 


Lijberecht Vervoort. 
Um 4623 
About 1625 


Vers 1625 


Lucas Maries. 
Dm 1623 
About 1625 
Vers 1625 


Joost Jansz Lanckert 
und sein Sohn 
Abraham 
Jansz Lanckert. 
Seit 1605 


Maximiliaen van der 
Gucht 
4633—1689 


23 


Isac Pieterse. 
Um 1623 


About 1623 
About 1620 Vers 1623 


Vers 1620 


Jacob Tack. 
de Godder. Um 4620 


Um 4623 About 1620 
I About 1623 Vers 1620 
Vers 1623 


Pieter van Balthasar 
Koppenol. van der Zee. 
Um 1623 Um 4620 
About 1625 About 1620 
Vers 1623 Vers 1620 


J. J. Lanckert 
and his son 


A. J. Lanckert. 
Since 1603 


J. J. Lanckert 
et son fils 


A. J. Lanckert. 
Depuis 4605 


Willem Andriesz 
de Raet 
4339 (4544) —1378 





24 
To | setae ee 


Sa. ||*7* NN | | 
a * | iN A | 


“Marken, deren Nachpriifung mir nicht möglich war. Zum größten Teil entnommen aus: 
W. G. Thomson, A History of Tapestry. London 1906. 


Marks most part taken from W. G. 






ee 

























Geschichte 


























Geschichte Davids. Sn Thomson. A. History of Tapestry. 
Bourges EN San of London 1906 

The Story of David Vulcan. La plus grande partie des marques 

L’Histoire de David. L'Histoire de suivantes est prise de W.G. Thomson. 
Bourges Vulcain A History of Tapestry. London 1906. 


Hoardwicke Hall. 












Szenen aus dem Alten 








La Bataille dans la Forét 
.... Auwerex (?) 


Schlacht im Walde. 
Testament. Wahrscheinlich e e 
Old Testament ein Mitglied der Familie 
Episodes. Auwercx a Bes 
Scenes de l’Ancien Battle in the Forest 
Testament. .... Auwerex (?) 


Geschichte des 
Odysseus. 
Hardwicke Hall 


The Story of Ulysses. 


L Histoire d’Ulvsse, 
Hardwicke Hall. 


Gombaut et Macée. 
Ob ein 
van der Borght? 
Van der Borght (2) 


I Ob ein Parmentiers? 

















Die Arche. 
Hardwicke Hall. 
The Ark. L’Arche. 


= 











Jagd- Geschichte der 
szenen. Kleopatra. Bourges. 
awe ‘The Story of Cleopatra. (, 
cenes ’Histoi at 
wos Vi Ky LV Histoire de Cléopatre 


Bourges. 













Geschichte 


































: ® der Esther 
Geschichte Motive aus Wien (?) 
der Minerva der heiligen Story 
p : Schrift, of Esther, 
.... Parmentiers (?) oa Je Vienna (?) 
. „ Story of Minerva. Testament I.’ Histoire 
L’Histoire de Minerve. Episodes. Geschichte d’ Father. 
Scénes de desHerkules. Vienne (2) 
l’Ancien Wien (?) Mytholog'sche 
Testament. The Story Episode. 
of Hercules. ihe 
eee 9) Episode. 
L Histoire Vienna (?) 
d’Hereule. Scene 





Vienne (?) mythologique: 


Vienne (?) 





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